Category Archives: periya thirumadal

periya thirumadal – 59 – ennudaiya nenjum

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ennudaiya nenjum aRivum inavaLaiyum                                                                              80
ponniyalum mEgalaiyum Angozhiyap pOndhERku
mannu maRikadalum Arkkum madhiyuguththa                                                               81
innilA inkadhirumenRanakkE veydhAgum

Word by word meaning

ennudaiya nenjum – my heart
aRivum – my knowledge (which is within that heart)
inam vaLaiyum – distinguished bangles on the hand
pon iyalum mEgalaiyum – golden waist band
ozhiya pOndhERku – for me who has lost (everyone of the above)

(as if to suffer further)

mannu maRi kadalum Arkkum – even the immobile ocean will roar
madhi uguththa in nilA in kadhirum – the sweet light emitted by the rays of the moon
en thanakkE – only for me
veydhu Agum – emitted heat

vyAkyAnam

ennudaiya nenjum – my heart, which will not get affected by anything, broke.

nenjum aRivum – heart is the casket for knowledge. I lost my wealth along with the casket.

inavaLaiyum – bangle, which is an ornament

ponniyalum mEgalaiyum – distinguished waist band.

Angu ozhiyap pOndhERku – I became worthless.

nenjum aRivum ozhiya – I became blind

ina vaLaiyum mEgalaiyum ozhiya – I lost my wealth.  Just as when someone goes to a place to make a living, loses whatever (s)he had, I lost everything. Just like straw is thrown here and there by the beautiful waves of an ocean, I ended up engaging in madal.

mannum maRikadalum Arkkum – even the ocean, which used to be calm earlier, makes an uproarious noise now.

Angu ozhiyap pOndhERku mannum maRi kadalum Arkkum – Ocean, which was created by emperumAn to guard the world, is expected to sympathise with those who suffer. Instead of doing that, the ocean roared as if it had seen a traitor to the land and welcomed me.

madhi uguththa innilA inkadhirum enRanakkE veydhAgum – The sweet light emitted by the cool rays of moon will be hot, only for me.

in nilA – in kadhir enRanakkE veydhAgum – what is comforting for all the people in the world became hot only for me. The term madhi refers to moon and the term nilA refers to its rays. What does the term kadhir refer to? Since the rays of moon are radiant, this term (kadhir) refers to the quality of light. If the text is innilA (as a single word instead of two words as in in nilA), it would mean “this moon” pointing out to the moon which is seen above in the sky.

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

adiyEn krishNa rAmAnuja dhAsan

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periya thirumadal – 58 – minnAy iLavEy

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minnAy iLavEyiraNdAy iNaichcheppAy
munnAya thoNdaiyAyk keNdaikkulamiraNdAy                                                 79
anna thiruvuruvam ninRadhu aRiyAdhE

Word by word meaning

idai min Ay – like lightning, in the beauty of her waist
iLa iraNdu vEy Ay – like  two bamboo shoots (for shoulder)
iNai seppu Ay – like two domes (for bosoms)
mun Aya thoNdai Ay – like the fruit of the hedges creeper in the front (for lips)
kulam keNdai iraNdAy – like two great keNdai (fresh-water fish, carp or barbus) (for the eyes)
anna – such
thiru uruvam – the divine form of SrIdhEvi (Sri mahAlakshmi)
ninRadhu aRiyAdhE – not knowing that (she) is standing (nearby)

vyAkyAnam

idaiyE min Ay – just like lightning amidst clouds, her waist was seen amidst the tresses [described in the previous verse]

Angu – Since there are two parts (upper body and lower body) both above and below, one could, only through guess, know that the waist exists; one cannot see it; its location is so doubtful.

iLa vEy iraNdAy – like two young bamboo shoots. This refers to the beauty of the well rounded, long, fresh and straight hands.

iNaichcheppAy – the beauty of the bosoms where each golden dome matches well with the other. They are like the jewel caskets protecting the gems of the nAyaka. mUnRAm thiruvandhAdhi – 3 says “malarAL thanaththuLLAn” (emperumAn dwells amidst the bosoms of pirAtti); thiruchchandhaviruththam 57 says “sangu thangu mun kai nangai kongai thangaluRRavan” (emperumAn resides in the bosom of SrI mahAlakshmi who has bangles in her forehand); SrI rangarAjasthavam says “SrIsthanAbharaNam” (emperumAn is the ornament on her bosom).

munnAya thoNdaiyAy – in the contest among the limbs, the beauty of the reddish fruit like mouth will stand first.

keNdaikkulam iraNdAy – the beauty of the divine eyes is similar to two carps [fresh-water fish] with regard to their beauty, flourish, length and form.

anna thiruvuruvam – the divine form of such pirAtti. Other than saying “such pirAtti”, there are no words to describe her beauty. Describing the beauty of a few of the limbs will not tantamount to describing her beauty in full.

thiruvuruvam ninRadhu aRiyAdhE – not knowing that such inestimable divine form is standing in close proximity. Earlier, the prabandham had spoken about inniLavanjikkodi. That being the case, is it proper now to say that he is not aware? This is because, while he had spoken of a few with great similes, he is expressing his inability to speak about pirAtti completely. It is possible to speak about emperumAn and pirAtti when they are separate; however, when they are together, it is impossible to speak about them in full. Since this is a matter beyond the grasping power of eyes and mind, and since, as  said in periya thiruvandhAdhi 34kAl Azhum nenjazhiyum kaN suzhalum” (my legs will stagger, heart will crumble and the eyes will whirl around (in bewilderment)) it will immerse the person who sees them together in an ocean of joy and apply a smokescreen for one’s intellect, it is possible to say “Not aware”. The opinion here is that AzhwAr is saying “When I came looking for emperumAn, I had come without knowing that she will also be with him. Had I known, I would have stayed away and not got entangled in this ocean of beauty).

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

adiyEn krishNa rAmAnuja dhAsan

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periya thirumadal – 57 – mannu maragadha

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mannu maragadhak kunRinmarungEyOr                                                             77
inniLa vanjikkodi onRu ninRadhudhAn
annamAy mAnAy aNimayilAy AngidaiyE                                                                78

Word by word meaning

mannu maragadhak kunRin marungE – near emperumAn who remains as a mountain of emerald, being the refuge for all.
Or in iLa vanji kodi onRu ninRadhu – pirAtti (SrI mahAlakshmi) who is distinguished, enjoyable (for emperumAn) and like a youthful creeper, stood
annam Ay – like a swan, in her gait
mAn Ay – like a deer, in her glance
aNi mayil Ay – like a beautiful peacock, in her tresses

 vyAkyAnam

mannu maragadhak kunRin marungEentire world would stand firmly, holding on to emperumAn who is like a bluish green mountain.

marungE – in his vicinity. Since emperumAn is like a huge tank, one cannot enter [due to the fear of drowning]. Thus, one can stay in his vicinity and enjoy. Since the nAyaki will not look directly at the nAyaka and since she cannot sustain herself if she does not look at him, pirAtti, the nAyaki here, is standing nearby emperumAn such that she could steal a few glances at him.

marungE – when one sees a huge flood, one cannot enter it; at the same time, one cannot go away from it too, because of its beauty. Hence, one has to remain nearby. In the same way, pirAtti is staying close to emperumAn, just as it is said in thiruvAimozhi 6-10-10agalagillEn iRaiyumenRu” (I cannot separate even for a moment)

Or inniLa vanjikkodiyonRu ninRadhudhAn – a youthful creeper, being unique and sweet, stood. The reason for calling her as a youthful creeper is because, in comparison with her, all the other women will have a streak of masculinity in them. She is the epitome of femininity. Just as emperumAn is described in Srimadh bhAgavatham 10-22-2 as “sAkshAth manmatha manmatha:” (bhagavAn is like a cupid for cupid himself; he is such handsome), pirAtti is the best among women and is similar to emperumAn. Since there is none who could be termed this way, AzhwAr, with the simile becoming very strong, is calling her as vanjikkodi itself [the term vanji has several meanings, one of which is a woman with a very slender waist].

Having described her overall beauty with the term inniLavanjikkodi, AzhwAr now describes the beauty of her inidivual limbs through similes.

annamAy – narrates the beauty of her gait.

mAnAy – narrates the beauty of her glance.

aNimayilAy – narrates the beauty of her tresses.

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

adiyEn krishNa rAmAnuja dhAsan

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periya thirumadal – 56 – minni oLi padaippa

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minni oLi padaippa vINANum thOL vaLaiyum
manniya kuNdalamum Aramum nINmudiyum                                                  76
thunnu veyil viriththa chULAmaNi imaippa

Word by word meaning

minni oLi padaippa – emitting radiance similar to lightning
vIzh nANum – the waist cord which is much desired
thOL vaLaiyum – the  ornaments worn on the shoulders
manniya kuNdalamum – the divine ear rings which are fitting well
Aramum – the chain (worn on the divine chest)
nIL mudiyum – the huge divine crown
thunnu veyil viriththa chULAmaNi imaippa – the lustrous ruby which is embedded on the radiant locks

vyAkyAnam

min oLi padaippa – just as it is said in thiruvAimozhi 4-2-10minsey pUN mArvinan” (one whose divine chest is decorated with ornaments which are lustrous), having a radiance which will make it appear as if he is wearing lightning as an ornament.

vINANum – pirAtti is known as hiraNyaprAkArA (she is an attribute for emperumAn who is like gold). His divine cord worn on the waist appears like a hiraNya prAkAram (fort made of gold) for her. His waist cord is like a wave which has been lapped by a beautiful ocean.

thOL vaLaiyum – just like a valorous anklet for the divine feet, for the shoulders under which all the three worlds take refuge, he has armlet. These ornaments for the shoulder hide his shoulders to ward off evil eyes.

manniya kuNdalamum – the shiny, fish-shaped ear rings which appear as if they have blossomed on his ears, as a natural phenomenon.

Aramum – the chain which appears in a similar way, fitting well on his chest.

nIN mudiyum – the crown, which has been placed on his head to indicate that he is the head of thirunaRaiyUr, became the crown to indicate that he is the lord for both the vibhUthis (spriritual realm and materialistic realm). nammAzhwAr, in his thiruviruththam pAsuram 50 says “viN mudhal nAyagan nINmudi” (the long crown of emperumAn who is lord of paramapadham (SrIvaikuNtam)).

thunnu veyil  viriththa chULAmaNi imaippa – the radiance of the jewel chUdAmaNi (a jewel worn on the crown) was far superior to all the other lustrous materials. thunnugai – being superior to. If an entity is very beautiful, people would cast evil eyes on it. To suppress the beauty [of emperumAn], the radiance from his jewel chULAmani shone far superior to all the other ornaments’ radiance, thus hiding his beauty.

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

adiyEn krishNa rAmAnuja dhAsan

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periya thirumadal – 55 – pannu kara thalamum

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pannu kara thalamum kaNgalum pangayaththin
ponniyal kAdOr maNivarai mEl pUththadhu pOl                                                               75

Word by word meaning

pannu kara thalamum – the divine hands which are to be praised
kaNgaLum – the divine eyes
Or maNi varai mEl ponniyal pangayaththin kAdu pUththadhu pOl – just like a forest of golden lotus blooming on top of a bluish gem coloured mountain (and shining)

vyAkyAnam

pannu kara thalamum – When emperumAn lifts the person who has fallen at his divine feet and embraces him with his hands, the person will exclaim “is this a hand!” in delirium. pannu karathalam would also mean that emperumAn’s divine hands will multiply into hundreds and thousands, because of embracing the person who had surrendered at his divine feet. thiruvAimozhi 8-1-10 also says “thOLgaL AyiraththAy” (you who are having thousand divine shoulders).

kaNgaLum – the divine eyes will look comfortingly at those who he has embraced. Did not periya thirumozhi say in 7-1-9 “uyirkkellAm thAyAyaLikkinRa thaNdAmaraikkaN” (the cool, comforting eye, which is like a cool lotus, which looks at all creatures like a mother)? While the hands have to stretch to the place where the surrendered person is standing [in order to embrace him], the eyes will feel the person, remaining in their place. If the eyes glance at a person, it would appear as if he has been felled by a hailstorm.

pangayaththin ponniyal kAdu Or maNi varai mEl pUththadhu pOl – just like a forest of golden lotus has blossomed atop a mountain made of bluish gem stone. The forest of golden lotus comprises the divine chest, divine mouth, divine feet, divine hands and divine eyes as mentioned in the previous verses. Alternatively, this could be taken as referring to the beauty of the divine form which combines well with the beauty of the divine jewels which are to be said next.

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

adiyEn krishNa rAmAnuja dhAsan

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periya thirumadal – 54 – ennudaiya kaN kaLippa

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ennudaiya kaNkaLippa nOkkinEn nOkkudhalum
mannan thirumArbum vAyum adiyiNaiyum                                                    74

Word by word meaning

ennudaiya kaN kaLippa nOkkinEn – I saw such that my eyes rejoiced.
nOkkudhalum – to the extent that I had seen
mannan – (thirunaRaiyUr) nambi’s [emperumAn who is complete in all aspects and who resides in thirunaRiyUr]
thirumArbum – the chest where pirAtti (SrI mahAlakshmi) resides
vAyum – the divine mouth (which is full of his smile)
adi iNaiyum – the divine feet

vyAkyAnam

kadandhu pukku nOkkinEn – Once he [emperumAn at thirunaRaiyUr] is seen, just as it is mentioned in periya thiruvandhAdhi 34kAlAzhum nenjazhiyum kaNsuzhalum” (my legs will stagger, heart will crumble and the eyes will whirl around (in bewilderment)), it will lead to loss of strength. Since one escaped from it, which will immerse the person in a whirl, it was possible to enter going past the door which is distinguished like gold. The opinion here is that one can only enter before encountering the weakness of seeing him and not after seeing him.

ennudaiya kaN kaLippa nOkkinEn – since I did not attain him, I became very weak; my eyes burnt and became dry, just like a huge ball of fire would dry up the entire ocean. Now I saw him such that the burning eyes, as mentioned above, became very cool.

kaLippa – just as this AzhwAr himself has mentioned in periya thirumozhi 7-10-9 “kangaLAraLavum ninRu kaNNamangaiyuL kaNdu koNdEnE” (I saw (emperumAn) at thirukkaNNamangai, a divine abode, until my eyes became fully satiated), I saw (thirunaRaiyUr nambi) until my famished eyes became fully satiated with sumptuous food.

nOkkinEn – Just as it is mentioned in thiruvAimozhi 1-1-3naNuginam nAmE” (we were fortunate to attain the emperumAn who has auspicious qualities), I, who am so lowly, saw emperumAn who is the most distinguished entity. Just as it is mentioned in SrI rAmAyaNam ayOdhyA kANdam 69-9 “manyE prApthA: sma tham dhESam bharadhvAjO yamabravIth” (I think that we have reached the place mentioned by sage bharadhwAja), I reached my target which is like my AchAryan.

kaLippa nOkkinEn – Has it not been mentioned in SrI rAmAyaNam ayOdhyA kANdam 8-4 “dhrushta Eva hi na: SOkam apanEshyathi rAghava:” (rAghava (SrI rAma) is one who removes our sorrows as soon as he sees us)?

nOkkudhalum mannan – as soon as I saw him, he became my king and made me his servitor. He changed  me from being the king of thirumangai, wielding a sword and shield into parakAla nAyaki [thirumangai AzhwAr in feminine mood] who would engage in madal as soon as she sees him [emperumAn].

nOkkudhalum mannan – Just as it is mentioned in mahAbhAratham ASva parvam “rAjAdhirAja: sarvEshAm” (he is the king of kings for all), he [emperumAn] remains as the chakravarthy (emperor) for all the worlds.

mannan thirumArbum – Since emperumAn’s chest is the holding place for AzhwAr as it is where pirAtti (SrI mahAlakshmi), who is the purushakArabhUthai (one who recommends to emperumAn) dwells, AzhwAr is looking at his chest first, and not at his face. It could also be said that he is looking at the chest first since emperumAn embraces him against his chest and gets rid of AzhwAr’s longing due to separation. Another interpretation – due to natural shyness, he is looking at the chest and not at the face, first.

mannan thirumArbum – emperumAn became the emperor because of pirAtti’s connection, just as it is mentioned in “thiruvirundha pakkam thiRavidhu” (the entity on whose chest SrI mahAlakshmi has taken residence fittingly, is the supreme bring) and in SrI rangarAja sathakam “apAnkhA bhUyAmsO yadhupari param brahmA thathabhUth” (he became the supreme entity as pirAtti’s glances kept coming his way often).

vAyum – why mention about the divine mouth as soon as reference is made to his divine chest? Since emperumAn is smilng at pirAtti who is residing in his chest, he looks at the divine mouth after seeing the divine chest. The term vAy refers to the smile which engages AzhwAr. It could also be said that since emperumAn is comforting those who had surrendered to him in the presence of pirAtti by saying the words mA Sucha: (do not feel sad), AzhwAr is speaking about the divine mouth.

adiyiNaiyum – AzhwAr is speaking about the divine feet where one would fall at, after losing out to the chest, the smile and the word (mA Sucha🙂

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

adiyEn krishNa rAmAnuja dhAsan

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periya thirumadal – 53 – mannu maRaiyOr

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mannu maRaiyOr thirunaRaiyUr mAmalaipOl
ponniyalum mAdak kavAdam kadandhupukku                                             73

Word by word meaning

maRaiyOr mannum – place inhabited by vaidhikas (those who follow vEdhas)
thirunaRaiyUr – at thirunaRaiyUr
mA malaipOl pon iyalum mAdam kavAdam kadandhu pukku – managing to cross the divine door of the sannidhi (place inside a temple where emperumAn’s divine form resides), which is like a huge mountain and which is like gold

vyAkyAnam

irum pozhil sUzh – the town of thirunaRaiyUr which is surrounded by expansive, great gardens. Gardens which have palm trees so that those who are withering, due to separation from their beloved, can engage in madal.

maRaiyOr mannum thirunaRaiyUr – It is a town where people prove that the  meaning of all vEdhas is to engage in madal. How can engaging in madal be the meaning of vEdhas? Has it not been said thunderously in vEdhas to engage in activities which are against one’s basic nature in order to attain the supreme being, such as pragyAm kurvItha (keep reminiscing), dhyEya: (meditate), sO’nvEshtavya: (investigate), dhyAyitha: (meditate intently), upAsithavya: (engage in devotion), nidhithyAsithavya: (meditate without a break)? Isn’t engaging in madal similar to these? Did not great sages who are great experts in vEdhas say “vyavasAdhruthE brahman nAsAthayathi thath param” (Oh brAhamaNa! It is not possible to attain supreme being without efforts by self)?

mAmalai pOl mAdam – temple which is tall like a huge mountain. SrI rAmAyaNam ayOdhyA kANdam 98-121 says “subhagaS chithrakUtO’sau girirAjOpamO giri: I yasmin vasathi kAkuthsa: kubEra iva nandhanE II” (this chithrakUta mountain is auspicious just like thirumAlirunjOlai. (This is because) kAkuthsa lives here just like kubEra lives in his garden). Thus, just like thirumAlirunjOlai is called as girirAja because the supreme being dwells there, this (thirunaRaiyUr) is also referred to as mAmalai (huge mountain). Even though thirunaRaiyUr is located on a small hillock, due to AzhwAr’s devotion towards emperumAn, the hillock appears as a huge mountain.

pon iyalum mAdam – it is a temple which is distinguished like gold, and has the quality of being desired by everyone.

kavAdam kadandhu pukku – entering after somehow managing to go past the door. kadandhu – going with difficulty. The implied meaning here is that since the beauty of the door would steal the eyes, just like a waylaying robber, it is very difficult to go past it.

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

adiyEn krishNa rAmAnuja dhAsan

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periya thirumadal – 52a – A Recap

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We have reached almost the mid-way of this pranbandham. It was felt that a recap of what we have covered till now would be apt now, before going ahead with the second half of the prabandham where parakAla nAyaki engages in carrying out madal on emperumAn.

thirumangai AzhwAr assumes a feminine mood, taking the name of parakAla nAyaki. She begins the prabandham by highlighting how emperumAn is reclining on the mattress of AdhiSeshan, thinking of ways to protect samsAris. She then describes his divine limbs and ornaments. She describes how brahmA, the deity ordained by emperumAn to continue with creation, gets to know the vEdhas (sacred texts) from emperumAn himself. She says that vEdhas enunciate that there are four purushArthams (ultimate benefits) namely aRam, poruL, inbam and vIdu (righteousness, wealth, pleasure and mOksham (liberation) respectively).

parakAla nAyaki’s ultimate aim is to reject the other three purushArthams and say that it is only kAmam (love towards emperumAn) which should be sought after by everyone.  In line with this, she takes up mOksham first, for rejection. She says that people say that there is a place called mOksham which can be attained only after giving up this body and taking up another body. For this, one has to carry out stringent penance, eating only dried leaves and fruits which fall on their own from the trees. Even when the ultimate benefit is attained, one has to go through the very hot sun, with a very narrow opening available for AthmA to pass through. vEdhas say that such and such person has attained mOksham, but there is no proof for it. The person who is said to have attained mOksham has not come back and said that he has attained mOksham or that it is like this.

Next AzhwAr, in the mood of parakAla nAyaki, takes up  aRam (righteousness), for which the benefit is swargam [heaven]. Here too, the jIvAthmA who desires to reach swargam, observes stringent measures in order to qualify for swargam. He has to carry out rituals such as jyOthishtOma yAgam. All these are similar to walking on a tightrope. Even if one makes a minute mistake in pronouncing the manthras while observing the ritual or misses a step, the punishment is severe. He could be born in the next birth as a brahmarakshas (a demon). However, on observing the rituals as ordained in the SAsthras, he goes to swargam where he is greeted by people enthusiastically. parakAla nAyaki describes how the land of swargam is, in all its details and how the AthmA who has reached that land enjoys the pleasures there. However, she cautions that this is not permanent. There is a countdown to the stay of the AthmA in swargam from the first day that he reaches there and one day, when his turn comes, he is pushed down back to samsAram. Hence, she says that aRam is also not dependable.

She then takes up the benefit of poruL and says that this too is similar to aRam in that it gives lowly benefit which is not permanent. Thus, parakAla nAyaki says that it is only kAmam which is the purushArtham to be coveted. She says that we should remain steadfast on the path of love towards bhagavAn which is well established and not on the path of lust which is the lowly benefit one accrues out of following bodily lust, just like the paths of righteousness and wealth.

Having now focussed on kAmam, parakAla nAyaki laments that she is now separated from emperumAn and wants to join with him. She says that women are allowed to engage in madal in order to attain their beloved. madal is an activity in which a person (male or female), having been separated from his or her partner, draws a sketch of the beloved on a palm leaf, sits on a horse made of palm leaves, pulled by children in the town and goes through the town telling everyone how his or her beloved is not bothered about him or her, talks ill of the beloved and pleads with the people to help him or her in being united with the beloved. parakAla nAyaki, desirous of engaging in madal, says that thamizh literature does not allow a woman to engage in madal while samskrutham language allows this. She thus rejects thamizh culture and literature and vows that she will engage in madal, following the samskrutham literature.

She cites incidents from SrI rAmAyaNam and mahAbhAratham to strengthen her case of engaging in madal. From SrI rAmAyaNam she says that sIthAppirAtti did not stay back in ayOdhyA when SrI rAma went to the forest but followed him. In mahAbhAratha, she cites the story of vEgavathi who opposed her brother and went to her beloved to unite with him. She also cites the story of nAgakanni ulUpi, from Adhiparvam of mahAbhAratha, and how she united with the great warrior, arjuna. She then narrates the story of ushai , the daughter of bANAsura, and how she took her friend, chithralEkai’s help in uniting with anirudhdha, the grandson of krishNa. Finally, she cites the story of umA, the daughter of himavAn, uniting with rudhra, who she desired. She then says that it is not possible for her [in her current state where she is in distress having been separated from her beloved] to go on narrating such incidents where women had engaged in madal in order to attain their respective beloved. It would need a great personality such as sage vyAsa to recount all those and he too cannot state these in a brief manner but would have to narrate them just has he had narrated mahAbhAratha with a lakh and twenty five thousand SlOkas.

She then decides that she will engage in madal in order to attain her beloved, the emperumAn residing in the divine abode of thirunaRaiyUr.

We will now go back to the vyAkyAnams of periyavAchchAn piLLai and azhagiya maNavALpperumAL nAyanAr to continue from where we had left.

adiyEn krishNa rAmAnuja dhAsan

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periya thirumadal – 52 – panni uraikkungAl

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panni uraikkungAl bAradhamAm – pAviyERku
ennuRu nOy yAn uraippak kENmin – irum pozhil sUzh                                            72

Word by word meaning

pAviyERku for me, the sinful person
panni uraikkum kAl – if I have to say more expansively (citing more examples)
bAradhamam Am – it will end just like mahAbAradham [will be so huge]
en uRu nOy – the disease which happened to me
yAn uraippak kENmin – please listen to it, as I narrate it.

What is it?
iru pozhil sUzh – surrounded by huge orchards

vyAkyAnam

panni uraikkum kAl bAradhamAm – It is not possible for me to speak this matter and bring it to an end. Only great personalities such as vyAsar can speak about it. Even if they speak about it, it will be only expansive like mahAbAradham (which has one lakh twenty five thousand SlOkAs) and cannot be narrated in a brief manner.

pAviyERku – for me who has committed such sins that I do not have the strength to narrate it in an expansive way just as vyAsa did. The words are to be rearranged as panni uraikkum kAl pAviyERku bAradhamAm.

ennuRu nOy yAn uraippak kENmin – let it remain that it cannot be narrated till completion. There is no need for me to explain in a detailed way the sufferings of those people (the women whose stories parakAla nAyaki has told in the previous verses). If you could listen to my sufferings, as narrated by me, it could be taken to completion.  Let the experience of others as known to us, remain by the side. Listen to the distress that I have personally experienced.

en uRu nOy – the disease which has attained me truly; the disease which has pervaded me completely. Just as nammAzhwAr had mercifully mentioned in thiruviruththam 53 “dheyva nannOy” (this is a good disease about emperumAn), it is the disease which remains by my side as a great support, after I separated from thirunaRaiyUr nambi and suffered. It is the disease which SrI bharathAzhwAn suffered after getting involved with SrI rAma’s handsomeness.

yAn uraippak kENmin – Listen to me who has got this disease. Since it cannot be narrated by anyone else, only I have to narrate it myself.

kENmin – Please listen; if my life has to be sustained, please listen. Just as it is said in uththararAma charitham “pUrOthpIdE thatAkasya parivAha: prathikriyA I SokakshObhE cha hrudhayam pralApairEva dhAryathE  II ” (if the water in pond starts overflowing, cutting the outlet channel alone will save the banks from getting broken. In the same way, if one were agitated due to excessive sorrow, only by crying out aloud does the heart sustain itself), listen to me so that I could sustain myself.

kENmin – this could also mean – listen to me if you want to reap the benefit of having been provided with ears.

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

adiyEn krishNa rAmAnuja dhAsan

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periya thirumadal – 51 – konnavilum mUvilai

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konnavilum mUvilai vEl kUththan podiyAdi
annavan than ponnagalam senRAngu aNaindhilaLE                                  71

Word by word meaning

kol navilum mU ilai vEl – one who has the weapon sUlam (spear), which has three leaves [sharp edges], which indulges in the occupation of killing
kUththan – one who is famously called as a dancer
podiyAdi – one who is famous for applying ash all over his body
annavan than – sivapirAn (rudhra) who is like that
pon agalam Angu senRu aNaindhilaLE – did she not go to him and embrace his beautiful chest?

 vyAkyAnam

kol navilum – it will prompt to kill; it is a weapon which keeps instructing him to kill since he is the deity for bringing AthmAs to their end. It is unlike the weapon which is praised by nammAzhwAr in thiruviruththam 33 as “aruLAr thiruchchakkaram” (the divine chakra (disc) which is full of mercy) and in thiruvAimozhi 2-10-5 as “aRamuyalAzhi” (the divine disc which is always engaged in the righteous path of protecting devotees).  Even those who desire to see it will be overcome with fear and grief [it is that cruel].

mUvilaivEl – just as he is virUpAksha, one with three eyes, his weapon too has three leaves.

kUththan – is his dance similar to the beautiful dance as enunciated mercifully by periyAzhwAr in periyAzhwAr thirumozhi 1-6-6 “thUya nadam payilum sundhara” (Oh one who has the beauty of dancing beautifully to attract the mind!)? His dance is like that of a ghost’s.

podiyAdi – Please see the enjoyment which she (umA) is going to get after attaining rudhra. He has applied ash as sandalwood paste.  Did she not take so much of efforts to attain this?

annavan – instead of saying with her (parakAla nayaki’s) mouth that he (rudhra) has decorated himself with various other materials such as Umaththai (bush plant, thorn-apple), erukkam (Indian madddar plant, whose exuded sap is very poisonous), bones, tiger skin etc, she turns her face away so as not to see what he has worn and says “Someone like that”.

than ponnagalam – she considers his chest which has all the above mentioned decorative features as greatly enjoyable, since she is his wife.

senRAngu aNaindhilaLE – did he come even after she had performed this much of penance? Did she not go on her own volition and embrace him as if it is one-sided exhibition of love?  He is not the akAravAchyan (one who is referred to by the single syllable ‘a’ (emperumAn, the supreme entity)) who will melt and fall head over heels [in doing great things for his devotee] once the devotee performs an anjali (saluting with cupped palms). Is it not to attain such an entity that she (umA) had performed such great penance? When she had taken such efforts, is it any wonder that I (parakAla nAyaki) am engaging in madal to attain emperumAn?

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

adiyEn krishNa rAmAnuja dhAsan

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