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thirunedunthANdakam – 18 – Part 2

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pAr vaNNa mada mangai paththar, piththar panimalar mel pAvaikku – This is about – like how the pearl-divers would dive all the way down and bring the sand full of pearls, SrIdhEvi and BhUdhEvi are enjoying this ocean of beauty direct from the source. Reason for talking about this now is to show that the matter of interest (emperumAn) which these dhEvis cannot manage to enjoy fully, is the interest that this nAyaki intends to experience.

pAr vaNNa madamangai – BhUmi pirAtti who is having the ever-attached earth as Her body, having the celebrated qualities of women, and having age that is matching His as said in ‘thulya Seela vayOvRuththAm thulyABhijanalakShaNam | rAghavO(s)rhathi vaidhEheem tham chEyamasithEkShaNA || [SrI rAmAyaNam – sundhara kANdam – 16-5]” (For vaidhEhi who is having matching qualities, age, behaviour, and having equivalent greatness of family lineage, and defining characteristics, only rAghavan is the correct match; she who is having dark eyes is the match only for Him).

pAr vaNNam – Reason behind saying that She is having the BhUmi as Her Sareeram is to show the following – She is not only enjoyable to emperumAn, those who live in that BhUmi are also enjoyable to emperumAn.

As said in “adiyAradiyAr thammadiyAradiyAr thamakku adiyAradiyAr tham – adiyAradiyOngaLE [thiruvAimozhi 3.7.10]”, like how those who are related to Him are dear to Her, those who are related to Her would be dear to Him too.

mangai – Suitable for His young age as said in ‘yuvAkumAra: [Ruk – ash – 2-2-25]’ (vishNu is in the age of a youth, with a little of previous state, that is at the starting stage of youth), she is said as ‘yuvathiS cha kumAriNee’.

paththar – As said in “Bhaja sEvAyAm [DhAthu pAtam – BvAdhi 995]”, the verb-root “Bhaja” gives the meaning of serving. The samskRutha word “Bhaktha:” coming from this verb-root, becomes “paththar” in thamizh. He is being served by Her, and She being in the state of serving Him is the natural state. When He falls in love, Her sweetness is such that it is He who would serve Her.

As said in “aham SishyA cha dhAsee cha BhakthA cha purushOththama | mathkRuthE sarva BhUthAnAm laGhUpAyam vadha prabhO || [varAha purANam 114-64] (Oh SrImannArAyaNa my lord! (I who am the BhUmi) am being a student of You, also a servant, and devotee. For my sake please give a simple means of salvation for all the AthmAs (thus prayed BhUmi pirAtti to varAha perumAL), thinking about His natural manliness she would be His student, servant, and devotee. When He thinks about the greatness of Her womanliness and be under love towards Her, He would undergo all the effects of such love as said in “kidandhirundhu ninRaLandhu [thiruvAimozhi 2.8.7]”.

piththar pani malar mEl pAvaikku – That love (towards BhUmi pirAttiyAr) too is a normal one is what one would think when seeing His love towards periya piRattiyAr. He being in extreme love towards periya pirAttiyAr who appears as if it is the fragrance of lotus that removes tiredness. As said in “alli-malar-magaL BhOga-mayakkukkaLAgiyum niRkum [thiruvAimozhi 3.10.8]”, her sweetness is such that He would struggle trying to fully enjoy it.

pAvam seydhEn – The mother is showing her tears to those who came to inquire. (Her true feeling is positive regarding her daughter). She says – Like the pirAttis her daughter is also trying to experience Him on her won (whereas it is proper for Him to come to her). It is not possible to subdue His greatness, it is not possible to subdue her desperation of separation, so it is my sins that are the reason for her suffering.

As said in “math-pApamEvAthra-nimiththamAseeth [SrI rAmAyaNam (this SlOkam not found in (current) text], like how BharathAzhvAn said that it is the sin of him who was born from kaikEyi, mother is saying that it is the sin of her who gave birth to nAyaki.

pAvam seydhEn – I gave birth to such a girl child, that she is not helpful to me (because she is not listening to my words), and not helpful to herself (because she is suffering this much due to separation, and losing her nature of a woman by not waiting for Him to come to her).

Then she says that her daughter’s suffering is due to not understanding her own greatness.

Er vaNNa en pEdhai – If she had understood about herself, then the suffering she undergoes would be what He would have undergone. It is the suffering of Him based on her beauty, is what is turned around and she is undergoing that suffering.

Er vaNNa en pEdhai – His colour of dark clouds is not a match for her beautiful form. His form is such that an example (of a dark cloud) could be given. Her daughter’s beauty has no comparison, so other than saying beautiful form, there is no example for her beauty. All we can say is ‘vadivu iNai illA malar magaL [thiruvAimozhi 9.2.10]” (pirAtti not having an equal to Her beauty). emperumAn would be enjoyable to Her. She would be enjoyable to Him. Seeing that pair and enjoying it is the greatness of BhUmi pirAtti. Enjoying seeing them together is the greatness of her daughter. (So her daughter’s beaty is even more because), as the enjoyment increases, one’s beauty also would increase.

en pEdhai – my daughter. She who is born is having that additional greatness (of being born in my clan) (unlike the pirAttis who are ever-present). Such birth is of greatness can be seen in “thirumgaL kol nila mA magaL kol piRAndhittAL [thiruvAimozhi 6.5.10]”, where though AzhvAr is compared to pirAttis, it is her birth that gave its greatness).

If one were to ask – If she is your daughter, does she not have to be obedient to you. Do you have to say “pAvam seydhEn”? What is wrong in your instructing her? –

en sol kELAL – She has passed the stage of my instructing her, says the mother. If I told her that to wait is proper, so why be so anxious, then she does not heed to my words.

en sol kELAL – Since she has heard and follows His words, she would ignore my words. Since she has listened to His words “mAm Ekam SaraNam vraja [Bhagavadh geethA charama SlOkam 18-66]” (~surrender to Me as your only means), she has not accepted my words of saying that one should wait for Him to come. Daughter – If there were some things I had to do, then I could do those and wait for Him to come. Since His words (in charama SlOkam) has not demanded any action from me, there is nothing wrong of me in showing urgency in getting Him.

emperumAn thiruvarangam engE ennum – Is it just that she did not listen to my words? She is even trying to figure out how to go to His place (thiruvarangam). She would ask – what is the direction to go to Him who made it intolerable for me to live without Him?’.

engE ennum – Is it just that she did not listen to my words? She is asking for direction from me itself. Before He left, to make her stay calm, he highlighted to her that she is always His. But that itself has become the reason for her anxiety.

neer vaNNan neer malaikkE pOvEn ennum – Going to thiruvarangam is through the route of thiruneermalai, she says. This is the way of those who lost their greatness like sense, etc. From her birth-place of thirukkuRaiyalUr go north to thiruneermalai, and then go south to thiruvarangam periya kOyil, is her intent. This is her way of staying in a dhivya dhESam during the journey – it does not have to be one on the way to periya kOyil. As said in “pAdheyam puNdareekSha-nAma-sankeerthanAmRutham [gAruda purANam]” (Due to walking a very long distance (after dying), for the jeevan suffering from hunger and thirst, the divine names of the lotus-eyed is the food for the journey), like how for some the divine names of Him is the food during a journey, divine dhivya dhESams are the food she takes during her journey. She would not travel without staying in dhivya dhESams. Direction to go to kOyil is via thiruneermalai – she says due to her distress.

niRavu azhindhAr niRkum ARu – idhuvanRO – Isn’t this the way of those who do not see their true nature (of waiting for Him to come), but see the greatness of Him?

idhuvanRO – niRkumARu – Even though I do not know this state, it is her state. Going after the sweetness of enjoyment is the nature of those who have learned it. (Daughter thinks) – those who consider the greatness of Him who is the means and who is without any expectation from us and who is readily available – would be in this state only. But I, the mother, do not know about the greatness of Him, and also not know about Him, the means, readily waiting for us. Our true nature is to be complete subservience is what I have known – says the mother.

emperumAn thiruvarangam engE ennum – nampiLLai would divine – “This girl who lost a thing in the river, is searching for it in the tank; isn’t this the state of those who lost their sense (due to love)”. (thiruvarangam periya kOyil being in the middle of two rivers, and thiruneermalai being surrounded by water, she is getting confused with one for the other). The stance of Azhvars and of ANdAL is – one should consider the greatness of the enjoyment and then set their svarUpam accordingly. When considering krishNan mingling with cowherd girls, she also got the walk, talk and smell of such girls. When considering krishNan mingling with wives of rishis (in “kArththaN [nAchchiyAr thirumozhi – 12.6]”), ANdAL would behave with more proper conduct and wear madithARu (madisAr?) clothes, and wish to present food to krishnan.

– – – – –

Translation by raghurAm SrInivAsa dhAsan.

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thirunedunthANdakam – 18 – Part 1

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

Full Series

<< previous – 17 – pongAr meliLam

Introduction

In the previous pAsuram line of ‘nangAy nam kudikku idhuvO nanmai enna, naRaiyUrum pAduvaL navilkinRALE’, since the mother said that she did not adhere to her words, she thinks now – ‘I cannot get her back by saying good words’, and ‘Now let her be as is, and let us find what her thoughts are’, and so asks the daughter ‘What are you thinking?’. She replies ‘There is no use of calling Him like this any more. So I am going to go to the place where He is present’. Upon hearing this, the mother tells those who came to inquire, ‘Oh she is trying to go and get the experience of Him. Even SrI dhEvi, BhUmA dhEvi et al who are having the utmost love, would struggle to get satisfied by the experience of Him. Isn’t this the state of those like her who ignore their state of womanliness and only consider the sweetness of emperumAn that they wish to attain?’. The mother who was talking indirectly about her being proud of her daughter’s state, is now saying openly as ‘This is what is ‘niRaivu azhindhAr ninRkum ARu’ (the ways of those who ignore their state and consider emperumAn’s sweetness).

In this pAsuram, it makes the mother’s words as first objection (pUrva-paksham), and then talks settled determination (sidhDhAntham) using daughter’s words. Mother’s opinion is – we should realize first about our true nature of complete subservience, and then be involved in the enjoyment that is matching such subservience. Reason for mother to say so is – Since in SAsthrams it talks about benefits like heaven that are adverse to our true nature, first we should determine what (limited) benefit is there as per our true nature, and only then should we be in the path of experiencing that benefit. So, enjoyment is only that which matches our true nature, is the principle of the mother. Daughter, refusing this thought, making it pUrva-paksham, replies – What you are saying is not acceptable. First we should determine the enjoyment that we are going to get, and then we should shape our nature to match that enjoyment. When seeing it in this way, considering the beauty of divine body of emperumAn, and considering the greatness of involvement of SrIdhEvi and BhUdhEvi, we who wish to get such top most enjoyment should not consider our complete subservience, but make efforts towards trying to get Him – this is the sidhDhAntham of daughter (parakAla nAyaki).

kAr vaNNam thirumEni kaNNum vAyum
kaiththalamum adiyiNaiyum kamala vaNNam
pArvaNNa madamangai paththar, piththar
panimalar mER pAvaikkup pAvam seydhEn
ErvaNNa enpEdhai en sol kELAL
emperumAn thiruvarangam engE ennum
neervaNNan neermalaikkE pOvEn ennum
idhuvanRO niRaivazhindhAr niRkumARE            18

Word by word meaning

Er vaNNam pEdhai – Having beautiful form that is the daughter
pAvam seydhEn en – of me who is a sinner,
en sol kELAL – does not listen to my words;
thirumEni kAR vaNNam ennum – She is saying that (emperumAn’s) divine body is having colour like that of dark cloud;
kaNNum – (His) eyes, and
vAyum – divine mouth, and
kai thalamum – divine palms of hands,
adi iNaiyum – two divine feet
kamala vaNNam ennum – are of colour like lotus flower, says she;
pAr vaNNam mada mangai paththar ennum – She says that (He) is under the influence of BhUmi pirAtti;
pani malar mEL pAvaikku piththAr ennum – She says that He is in deep love towards periya pirAttiyAr who was born in the comforting beautiful lotus;
emperumAn thiruvarangam engE ennum – She asking where is thiruvarangam of emperumAn who got me to realize servitude;
neer vaNNan neer malaikkE pOvEn ennum – I have to go to thiruneermalai that is the abode of the one who is having the nature of water;
niRaivu azhindhAr niRkum ARu idhu anRO – It appears that this is the way of those who lost their controlled state.

vyAkyAnam

kAr vaNNam thirumEni By this pAsuram mother establishes to those who came to inquire about her state, that such and such is the determination (sidhDhAntham) of her daughter.

She (daughter) is not the one immersing first in the meaning of praNavam that is the first word (padham) of thiruvashtAkSharam, and that of its congruent and third word “nArAyaNAya”. She got immersed first in the beauty of His divine body that is the meaning of the word “nArAyaNAya” only. (prakruthi – root matter that He is present in, and is used by Him, to create all non-sentient elements and things including our body). Reason for this stance of daughter is that when she was in the state that the body made of prakruthi that causes troubles was the purushArtham (benefit), He showed His beautiful divine body and that is only how He removed her interest in the body made of prakruthi. So it is the divine body that is enjoyed by nithyasUris that she got attracted to first, says the mother.

As seen in “Esha sarvasvsBhUthasthu parishvangO hanUmatha: | mayA kAlamima prApya dhaththas thasya mahAthmana: || [SrI rAmAyaNam – yudhDha kANdam – 1-13]” (SrI rAma says – This embrace of me, which is like giving away everything of me, is given to the noble hanUman by me at the apt time), what He gave to hanUman who served Him, is His divine body only!

In geethA charama SlOkam, based on being arjuna’s charioteer, holding the reins of bridle of horses of the chariot, standing with dust from army’s movement covering His divine fluffy hair – and thus showing His divine body only is how He divined to arjuna – “surrender only to me”.

Because of showing the true nature, qualities that are the destiny, it is the ultimate destiny that is the divine body which helped her get rid of her interest in worldly matters. Going to paramapadham by archirAdhi mArgam too is to enjoy the divine body of paramapadha nAthan who fully shows all His six main attributes such as gyAnam, Sakthi.

Due to these reasons, one should first consider the meaning of third word of thirumanthram (nArAyaNAya) that is the beauty of divine body, and only in congruence with that should we determine our true nature that is the meaning of the first word (praNavam) of thirumanthram – this is the opinion of her daughter.

kArvaNNamRemoval of three types of sorrows that arise in this world (AdhyAthmikam, AdhiBauthikam, Adhidhaivikam), and removing the suffering from those who are undergoikng that due to separation, is done by this divine body only.

kaNNum vAyum kaiththalamum adiyiNaiyum kamalavaNNamAs said by poet kambar in bAla kANdam of his kamba rAmAyaNam – “karumugil thAmaraik kAdu pUththu(like flowers blossoming in the dark cloud), in the cloud that is His divine body, His eyes, lips, and palms are reddish – so it appears like lotus blossoming in the dark cloud. That is the way the divine limbs of His body are. That is, it is not enough to give just the dark cloud as an example to explain about His divine body; one can say it as an example only if there is a cloud that is full of blossoming lotus. So this comparison is aBhUthOpamai (comparison with a non-existent).

kaNNum vAyum kaiththalamum adiyiNaiyum kamalavaNNam – In general, those who surrender to emperumAn should first consider the attributes such as vAthsalyam, sauSeelyam, saulaBhyam that are present in His true nature/form. But since she is interested in His divine body, she is first considering the divine limbs of His body, that is, eyes, lips, palm, divine feet, which reflect the attributes of His divine body.

If she had fallen in love based on His true nature, then the attributes of His nature like saulaBhyam etc., would have helped her as the means to surrender to Him. But since she is in love with Him based on the beauty of His divine form, it is the limbs and qualities of His divine body only that are the means for her. Generally when one gets afraid of the worldly matters, then they understand the true nature of self and of emperumAn, and understand one’s (wrong) ways of living earlier, and to remedy that be involved in the divine qualities of Him – this is Not the case for her. She got interested in His divine form first, and so is considering the qualities of His form and surrendering to Him.

kaNNum – As said in “thUdhu sey kaNgaL [thiruvAimozhi – 9.9.9]”, His eyes would make one who is not interested in emperumAn, to become interested and fall on His feet. So His eyes are the means for Her.

As seen in “jitham thE puNdareekAkSha namasthE viSvaBhavana .. || [jithanthE sthOthram – 1.1]“ (Oh One having eyes like beautiful lotus! (This AthmA) was won by You; it is not mine; it is Yours! Oh One who created the worlds! … (this AthmA) should avoid being for me, and it should be there for You only (as Your servant)) — it is the eyes of emperumAn that first makes one interested in Him. So only His eyes are the means.

As said in “aham BheethOsmi dhEvESa samsArE(S)min BhayAvahE | pAhi mAm puNdareekAkSha na jAnE SaraNam param || [jithanthE sthOthram – 1.8] (Oh the leader of dhEvas! I am taken aback seeing this scary sea of births. Oh One with lotus eyes! I don’t find any way other than You (to cross such a sea). Please save me) – for those who get interested in Him, it is the eyes that are the means to reach Him.

As said in “thAmaraik kaNNanai viNNOr paravum thalaimaganai [thiruvAimozhi – 2.6.3]”, after reaching emperumAn, it is the eyes that one has to see all the time, it is only the eyes that becomes the destiny/benefit (upEyam) too.

vAyumTo those who got involved in His eyes, it is the divine lips/mouth that gives out a smile to remove all the sadness due to such a long separation from Him; if we approached Him with the hesitation – “Would the mind of emperumAn be in anger towards us who have done mistakes”, His smile would be such that we ourselves would think “We did not do any mistakes”. It is the smile that says without saying that He has forgiven our mistakes.

kaiththalamumand the hand that says to the ones that go to Him, “mASucha: [geethA charama SlOkam]” (do not feel bad/bemoan). As said in “aNimigu thAmaraik kaiyai andhO adichchiyOm thalai misai nee aNiyAy [thiruvAimozhi – 10.3.5]”, it is only the hand that is the destiny/benefit (upEyam) too.

adiyiNaiyumAnd the divine feet that one would wish to enjoy, after getting their fear removed by seeing the hand that gives removal of fear. As said in ‘lOkavikrAntha charaNau’ it is the divine feet that is for surrendering. As said in “thirvikrama thvath charaNAmbuja-dhvayam-madheeyamUrdhAnam alankarishyathi [sthOthra rathnam]”, and in “padikkaLavAga nimirththa nin pAdha pankayamE thalaikkaNiyAy [thiruvAimozhi – 9.2.2]”, it is only the divine feet that is enjoyable.

This is the nature of the divine eyes that enable our relationship first, of the smile of lips that make it stronger, of the divine hands that would eagerly embrace those who have understood their relationship with Him, and of the divine feet one falls to after losing themselves to that embrace.

kamala vaNNamComparing to lotus is just based on a small similarity only; the lotus that would wither soon would not be a suitable means to explain about the parts of divine body of emperumAn that is said as ‘sadhaika-rUpAya [vishNu purANam – 1.2.1](to vishNu who has got the divine body that is always of a sustained form). nammAzhvAr too rejected the comparison by divining, “katturaikkil thAmarai nin kaN pAdham kai ovvA [thiruvAimozhi – 3.1.2]”.

Continued in Part 2.

– – – – –

Translation by raghurAm SrInivAsa dhAsan.

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thirunedunthANdakam – 17

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<< previous – 16 – kanRu mEyththu

Introduction

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

Mudhalazhvars with Idai kazhi aayan

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

Word by word meaning

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

ponnE pUppa – losing colour,

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

neer arumba – sprouting tears,

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

udal urugi – body melting

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

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

AngE – at that moment,

pAdi – (she started to) sing and

Ada – dance,

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

thaNkAlum – thiruththaNkAl,

thaN kudandhai nagarum – and the place of thirukkudandhai,

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

kEttu – As I heard that,

enna – and as I said

nangAy – ‘Oh girl!

nam kudikku – for our clan

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

pAduvAL navilginRALE – she started for singing about

naRaiyUrum – thirunaRaiyUr too.

vyAkyAnam

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

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

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

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

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

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

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

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

kayal kaN – bright eyes like the kayal fish.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

– – – – – –

Translation by raghurAm SrInivAsa dhAsan.

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thirunedunthANdakam – 16

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Introduction

In the previous pAsuram, she was holding veeNA in hand, and thinking about the veeNA itself as emperumAn and being in union with Him, said words of victory that highlighted her victory and His losing, but she did not hear His reply of words of His victory and her loss – because she thought veeNA itself as Him. Only due to this she lost the state she was in, in the previous pAsuram, and losing her pride also, she started calling Him thinking about her and the veeNA in its original form itself. As was seen in the previous pAsuram, the SlOkam “BharThAramiva samprApthA jAnakee mudhithASBhavath”, becoming very happy thinking of His ring (kaNaiyAzhi) itself as rAmA, and after realizing that perumAL was not present there, (laments) seethA pirAtti (who is threatened by the demons in ashOkavanam) – “hA rAma hA lakShmaNa hA sumithrE hA rAmamAtha: saha mE jananya: | EshA vipaDhyAmyaham alpaBhAgyA mahArNavE nauriva mUDavAthA || [SrI rAmAyaNAm – sundhara kANdam – 28-8] (Oh rAma! lakShmaNa! SumithrA! Mother of rAma! My mothers! I who do not have good deeds in me, has been affected by sorrows, like a boat caught in the sea storm); like how She lamented, parakAla nAyaki also laments in this pAsuram. seethAp pirAtti thought about her dear perumAL and said ‘Oh rAmA!’, and thinking about iLaiya perumAL who is enjoying the presence of perumAL with him and said “Oh lakShmaNa!”, and thinking about the mother of that iLaiya perumAL and called out “Oh sumithrE!”. Likewise, she is also calling perumAL, who does not look at either the greatness or lowliness of anyone for protecting them, and is saddened in this pAsuram (due to separation).

kanRu mEyththu inidhugandha kALAy! enRum
kadipozhil sUzh kaNapuraththu en kaniyE enRum
manRamarak kUththAdi magizhndhAy! enRum
vadathiruvEngadam mEya maindhA! enRum
venRasurar kulam kaLaindha vEndhE! enRum
viripozhil sUzh thirunaRaiyUr ninRAy enRum
thunRu kuzhal karuniRaththen thuNaiyE! enRum
thuNai mulai mEl thuLi sOrach chOrginRALE 16

Word by word meaning

kanRu mEyththu – Oh one who protected the cows

inidhu ugandha – and became very happy,

kALAy enRum – and having the individualism, and

en kaniyE – Oh my fruit

kaNapuraththu – (that became ripe in) thirukkaNNapuram that is

kadi pozhil sUzh – surrounded by fragrant gardens! And,

magizhndhAy enRum – Oh who became happy

manRu amarak kUththAdi – by dancing with pots in the middle of the junction of roads! And,

vada thiruvEngadam mEya maindhA enRum – Oh the proud one who resides firmly in vada thiruvEngadam! And,

vEndhE – Oh the king who

venRu – won and

kaLaindha – destroyed

asurar kulam – the clan of asuras! And

ninRAy enRum – having your divine presence

thirunaRaiyUr – in thirunaRaiyUr

viri pozhil sUzh – that is surrounded by the gardens spread out expanding, and

thunRu kuzhal kaRu niRaththu en thuNaiyE enRum – Oh one having dense hair plaits, dark divine body, and being my companion, saying all these,

sOrginRAL – she becomes sad/faint that the

thuLi sOra – drops of tears flow down

thuNai mulai mEl – the bosoms that match each other.

vyAkyAnam

kanRu mEyththu – First she says how emperumAn protects the little cows without considering any status.

kanRu mEyththu inidhu ugandha kALAy enRum – She is asking – Have you abandoned the nature of saving all entities including the calves? Here the word mEyththu (herding the calves) is present in the sense of protecting them. It would be apt to stay relaxed if He protects only the nithyasUris. It would be apt to stay relaxed if He protects the munis like sanakar sometimes. Having been incarnated as balarAma and kaNNan and protecting only the cowherds who are so innocent that they can’t distinguish between their left and right hands, even then one can stay relaxed. But when you are herding the calves who are the epitome of lack of wisdom, how can I stay relaxed while separated from you (because you are not including me in protecting)?

kanRu mEyththu inidhugandha kALAy – By kALai (bull) it says His dignity – can mean to imply a king or a youth. When it means king – being in the state of protecting the nithyasUris is like (the king) being in a jail, and only after herding the calves did He become a chakravarthy of all the worlds – is the thought. Only after protecting everyone did He completely gain the nobility of being known as one who protects everyone.

inidhugandha – Like said in “thivaththilum pasu niRai mEyppu uvaththi, sengani vAy engaL Ayar dhEvE [thiruvAimozhi 10.3.10]”, he is joyful due to herding the group of cows. Due to herding the calves He becomes extremely (inidhu), happy. Cows would have the knowledge that He is protecting. These calves don’t even have that knowledge. So, when He protects the calves He becomes very very happy – is the idea. Oh You who protected the calves that are at the upper limit of ignorance, are not protecting me who understood You and cannot survive life without You! – says she. Oh! leaving the state of being the beloved lover, and being knowledgeable, and helpless, could I not be one among the calves of no intelligence!

kALAy enRum – Here ‘kALai’ can be considered to say the age of youth. Even though she is overcome by sadness, she is saying this due to losing to His youth.

As said in “tharuNau rUpasampannau sukumarau mahAbalau | puNdareeka viSAlAkShau cheerakRushNAjinAmbarau || [SrI rAmAyaNam – AraNya kANdam – 19-14]” ((rAma and lakShmaNa are) being young, full of beauty, soft in nature, having great ability, having wide eyes like lotus, having tree barks and deer skin for dress (so describes sUrpaNakA about them to rAvaNa)), when their youth would attract even a vulture like sUrpaNakA, will it spare parakAla nAyaki? It could be that she wishes to further polish her youth by union with Him. Or, after herding the calves, kaNNan’s youth became even better than earlier, like those who ate the kAyakalpa medicine. Humans have the body that grows by food, so it is the food that is the reason for their growth – likewise, for Him the protector, when the act of protecting increases, His youth also gets better.

kadkpozhil sUzh kaNapuraththen kaniyE enRum – It is only to protect those who are present later than the respective vibhava avathAras, that He has come to thirukkaNNapuram, and stood there sweetly – this is the type of explanation of AchAryas who were present before Bhattar. Bhattar considered the phrase “kadipozhil sUzh kaNApuram” to give another explanation. That is, “kaNNapirAn who went herding the calves, went in a different path to surround the calves that moved away from his hands – at that time He saw there a very beautiful garden that would remove all tiredness. That was thirukkaNNapuram. Since it is a garden that mesmerizes, like nammAzhvAr also said “mayal migu pozhil sUzh [thiruvAimozhi – 2.10.3]”, kaNNan did not have the heart to leave that place and so stayed there itself” – divined Bhattar. It is to be noted that Bhattar divined so because he thinks of viBhava avathAr and archA avathAr as one and the same.

kadipozhil sUzh kaNApuramthe garden is such that one would say it is made of fragrance itself – such a thirukkaNNapuram that is surrounded by fragrant gardens. As said in, “sarvaganDha: sarvarasa: [chAndhogyOpanishath – 3-14-2]” ((paramapurusha, in His divine body) has got all the fragrances, all the good tastes), this garden’s fragrance is such that He who possesses all the fragrances is engaged in it.

en kaniyE enRumemperumAn is like a ripe fruit of that garden. It means He is sweet for me like a ripe fruit. “en kaniyE” – she is showing that she is only a prapanna who has surrendered to Him, consider only Him as the means to attain Him, and that she is not an upAsaka who would go for other means such as Bhakthi. For those who are using Bhakthi etc., as the means, only after completion of such means would it give them the experience of BhagavAn. So, before such completion, He would be tasteless to them like an unripe fruit. For prapannas, from the very time they surrendered to Him as their means He would be sweet to them, so He would be of good taste (enjoyable) to them like a ripe fruit.

en kaniyE enRumSince she thinks as “kaNNapuram onRu udaiyAnukku adiyEn oruvarkku uriyEnO [periya thirumozhi – 8.9.3]”, she saying en kaniyE.

kaniyE enRumA ripe fruit would rot and go waste if it is not eaten and enjoyed by someone. One who eats also would not bear if he does not enjoy that fruit. Since You did not give yourself for me to enjoy, are You trying to destroy us both? – says parakAla nAyaki.

manRamarak kUththAdi maghizhndhAy enRumIn the previous line, she referred to Him as the fruit that is sweet (only) for the one who enjoys it. Further she says You showed Yourself fully to everyone (by dancing with pots in the middle of the road), like one opening a bag full of aval (rice flakes) in a junction of roads.

manRamarak kUththAdiOh You who danced such that the theatre stage that is the junction square was completely well set for the dance! That is, even after finishing the dance, that arena would be having the smell of dance. That is, in that dancing arena, there would be an image of dance being performed still. Bhattar gives an example for this – “In thiruvarangam, even after namperumAL has crossed a street during procession, there would be the fragrance of kasthUri which is the fragrance of divine body of thiruvaranganAthan. Likewise, in the arena of thiruvAyppAdi, the fragrance of dance would be filled even after He finished dancing”. The word manRu denotes both a junction and a court/arena. It is the courtyard of assembly of the cowherds. Or, taking manRu to mean those present in the arena/the court, it could mean – all the cowherds of the arena, amara – he danced such that they all would become His belonging. That is, without the mind going after any other matter but fully engaged in the dance, making them think “that, that dance!”.

maghizndhAy enRumIt is not important that those who saw the dance were happy. It is He who was happy – such was the dance. That is, it is He who was happy by winning them over with His dance.

kUththAdi maghizhndhAy enRumHe who has to be happy seeing thumburu, nAradha, et al dancing after experiencing His sweetness, is being the dancer and the one who is happy too, says parakAla nAyaki. Is it apt for a eeSvaran to do pot dance? It is not so when in the state of parathvam, but for kANNan who is born as a cowherd, this dance gives excellence. Like how when there is more wealth, brahmins would perform vaidhika karmas like yAgam, like how when there is more wealth the samsAris that are engaged in wordly pleasures would marry again and again, the outlet of pride of increased wealth for cowherds is the dance with pots. He the sarvESvaran considered Himself as one of the cowherds only, He danced so – is the idea. The matter that was available for everyone to enjoy in the middle of the junction is the one who is being hard for me to get – says she. The item that is available in the market is being hard for me to get – says she.

vada thiruvEngadam mEya myndhA enRum It is not only about standing in a junction in the place that is thiruvAyppAdi and giving Himself fully to them, it also talks about Him giving Himself fully by standing in thirumalai that is in the middle of both the worlds. “kaNNAvAn enRum, maNNOr viNNOrkku [thiruvAimozhi 1.8.3]”, divined nammAzhvAr too, that the place where people of this world and that world would assemble is thirumalai.

maindhA enRum – It is His youth that He gave everyone, standing in thirumalai. myndhan – young person. As said in “vAnavar vAnavar kOnodum namanRezhum thiruvEngadam [thiruvAzimozhi 3.3.7]”, “kAnamum vAnaramum vEdumudai vEngadam [nAnumugan thiruvandhAdhi – 47]”, those who proudly think of themselves as eeSvarans, the vAnaras that were born as animals, and hunters of lower births, all together stole His divine body, but which is being hard for me to get, says she. It could also be considered to mean – In eighth pAsuram, in the vyAkhAyanam of the word “kaLvA”, as per jithanthE 1-5 taken there as a pramANam, the divine body that is common to all the devotees, is belonging to everyone except me!

venRasurar kulam kaLaindha vEndhE enRum – The thought here is, “If He is a dear one only, but if it is in someone else’s hands to remove hurdles to reach Him, then I might lose Him. It is not so in His case who destroys very big hurdles such as the clans of asuras”. By this phrase, she is calling – O chakravarthy thirumagan, who killed Kharan, thUshanan in the forest of janasthAnam, who went to lankA, who killed everyone associated to rAvaNa and made him be alone, who uprooted everyone who were having characteristics of asura, and who destroyed their leader rAvaNAn also! She is saying ‘asurar kulam kaLaindha’, referring to rAkshasas as asuras because they are different from the dhEvas who are warriors.

vEndhE enRum – As said in, “rAmO rAmO rAma ithi prajAnAnAm aBhavan kaThA: | rAmaBhUtham jagath aBhUth rAmE rAjyam praSAsathi || [SrI rAmAyaNam – yudhDha kANdam – 128-102]” (rAmA, rAmA, rAmA is what the people were talking. When rAma ruled the country, the whole world became rAmA), One who is there for the dear ones to rumble about Him, and for enemies to fall, is not showing Himself to me. This AzhvAr is divining the two attributes of perumAL as divined by periyAzhvAr in “thAyar magizha onnAr thaLara [periyAzhvar thirumozhi 1.7.11]”, and in “thiN koL asuraraith thEya vaLarkinRan [periyAzhvAr thirumozhi 1.2.16]”.

viripozhil sUzh thirunaRaiyUr ninRAy enRum – (thirunaRaiyUr being) the place where chakravarthy thirumagan comes and stands for those who are present after His incarnation of rAma. Unlike other dhivya dhESams where emperumAn is present with the two divine consorts, in thirunaRaiyUr He is present with only vanjuLavallith thAyAR, and thus appears as rAma who cannot think of anyone other than seethA, is being present there. Meaning of this phrase is “Oh who stood in thirunaRaiyUr that is surrounded by vast garden”. Since the garden is using the loving glance of nambi and vanjuLavallith thAyar as the required water for growth, it is growing by leaps everyday. Since the loving glance of them would not change, the expansion of garden would not change either.

ninRAy enRum – He roamed around in search of pirAtti. After seeing Her in that place (thirunaRaiyUr), He could sustain Himself and then stood there. If that state has to last long for You, then don’t You have to show Yourself to me who is a servant of Her? When You don’t show Your grace on me, will You get Her company? – thinks she.

thunRu kuzhal karu niRaththu en thuNaiyE enRum – In this line too parakAla nAyaki is talking about nambi’s divine hair plait, and beauty of His divine body. It means ‘my companion having very dense black hair plait, and black divine body like a dark rainy cloud!’. Like how nammAzhvAr is also considering that dark cloud as his help, divined “thOLum nAngudaich churikuzhal kamalakkaN kari vAyk kALa mEghaththai anRi maRRonRilam gathiyE [thiruvAimozhi 10.1.1]”. The word “thuNai” has got the meaning of “protector”. Or, dear husband could also be a meaning. She is indicating that His divine hair plait and beauty of His divine body by themselves got her interested in Him. During the time of searching for pirAtti during His stay in the forest, due to not maintaining it His hair was down with locks. Since after seeing Her here (thirunaRaiyUr), it is then the hair that was properly combed and reformed by Her, it is saying ‘thunRu kuzhal’ (dense hair plait).

en thuNaiyE – “praSastha snighDha neela kutila kunthala: [SrI vishNu sahasranAma BhAshyam – kESava [23] nAma Bhattar BhAshya SrIsUkthi] (One having slippery, black, curly divine hair plait) – having such hair plait that is praised, and with divine body having nature of removing tiredness – showing these You made me Yours – is the meaning. During the days when I was not inclined to be involved in You, You cared for my being and not getting destroyed, and so showed your beauty of form and made me Yours and joined me – all of these You did so that You could leave me now? – says she. The word “thuNai” implies both the person who made her interested in Him, and also the one who protected her. In the pAsuram “ilai thuNai maRRu en nenjE [nAnumugan thiruvandhAdhi – 8], thirumazhisai AzhvAr showed both these meanings for the word “thuNai”. Oh who is my dear destiny, and who is the means of protection as well – is the thought.

enRum thuNai mulai mEl thuLisOrach chOrginRALE – Mother is saying that as my daughter was calling Him out like this, she fainted in the floor.

thuNai mulai – When He and she enjoy in union, her bosoms would be a companion instrument for both of their enjoyment. In the state of separation from Him too, the bosom of His touch would be a companion for her. So she is saying ‘thuNai mulai’.

thuLi sORach chOrginRALEDue to her tears pouring out like fire and falling on her bosoms and changing its colour, she also fainted, says the mother.

Considering the “en thuNaiyE” in previous line together with “sOrginRALE” of this line, the meaning of this word is as follows – Like how those who are falling down would say “ammA” while falling down, even when suffering due to Him not showing up, she is telling His name only while fainting and falling down. As a help to her as a mother, while I was standing looking at her thinking “would she look at my face (for help?)”, she, even without considering that He whom she considered as help had left her, is thinking about His showing up only, and fainted; may be this is how the state would be of those who are having connection with emperumAn. It is the nature of such people to ignore the other matters/things that shout out “take me, take me”, and not being able to sustain oneself without Him even when He has ignored. Even though the mother had considered herself as a protector, the daughter had ignored her (and considered only emperumAn as her protector).

– – – – – – –

Translation by raghurAm SrInivAsa dhAsan.

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thirunedunthANdakam – 15

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<< previous – 14 – muLaikkadhirai

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!

===========

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.

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thirunedunthANdakam – 13 – Part 2

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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.

archived in http://divyaprabandham.koyil.org

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thirunedunthANdakam – 13 – Part 1

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<< previous – 12 – nenjurugik kaN panippa

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.

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thirunedunthANdakam – 12 – Part 2

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Full Series

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

Full Series

<< 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.

archived in http://divyaprabandham.koyil.org

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