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rAmAnusa nURRanthAdhi – 1

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AzhvarThayarPerumalEmperumanar

pAsuram 1

pU mannu mAdhu porundhiya mArban * pugazh malindha
pA mannu mARan adi paNindhu uynthavan * pal kalaiyOr
thAm manna vandha irAmAnusan charaNAravindham
nAm manni vAzha * nenjE! solluvOm avan nAmangaLE.             1.
 

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Word by word meaning

maNavALA mAmunigaL’s vyAkyAnam is short and has provided word by word meanings for the pAsurams. piLLai lOkam jIyar has provided detailed vyAkyAnam.

amudhanAr is talking to his heart that we shall say the divine names of emperumAnAr such that we live permanently under the divine feet of emperumAnAr.

(Like said in ‘padhmEsthithAm’,)
pU – lotus flower
mannu – is the place of
mAdhuperiya pirAttiAr (srI mahAlakshmi),
(but she ignored that place after seeing the joy (of emperumAn’s divine chest, and as said in ‘iRaiyum – agalgillEn’ (would not leave even for a moment) [thiruvAimozhi – 6.10.10])),
porundhiya mArban – emperumAn having such a divine chest where pirAttiar stays every moment
pugazh – (whose) auspicious qualities
malindha – are filled in the
pAthiruvAimozhi,
mannu – which is filled in the mind of
mARan(nam)AzhwAr, (like he said in [thiruvAimozhi 8-10-5] kavi amudham nugarchchi uRumO muzhudhum)
adi paNindhu uyndhavan – (rAmAnujar) lived by surrendering to (such AzhwAr’s) divine feet
palkalaiyOr thAm – even though they learned many sAsthras, they could not understand its inner meanings; and so after understanding it (from emperumAnAr)
manna – (they) surrendered to and stayed with (emperumAnAr)
vandha – (such) avathAram (of)
irAmAnusanemperumAnAr,
charaNa aravindham – (his) divine lotus feet
nAm – we (amudhanAr and his heart) who know that this (divine lotus feet) is the goal/destiny for us,
manni vAzha – to live under it,
nenjE! – oh mind/heart!
solluvOm – we shall recite
avan – his (emperumAnAr’s)
nAmangaLE – divine names (only)

Also:

thAm manna – the pundits themselves came and surrendered to emperumAnAr.
nAm manna – we who had been under the feet of other insignificant matters all those countless lives, shall surrender to him.

avathArikai (Introduction to pAsuram 1)

piLLai amudhanAr, by the grace of his AchAryan (kUraththAzhvAn), got the inner meanings of the two kaNdam (parts) of manthra rathnam (dhvayam), which are learned in protected ways (parama rahasyam – even the sound for dhvayam is not recited loudly; – change nArAyaNa to rAmAnuja and you get the inner meaning; and prApakam (destiny) is AchAryan’s divine feet; and we can survive only based on AchAryan’s loving acceptance of us (Acharya abhimanamE uththArakam [srIvachana bhUshaNam])), and as he wanted to share the experience of its meanings with others, like said in ‘Eka: svAthu na bhunjItha’ (do not eat alone (share with others)), and like how one would want others to go with them when trying to cross a river having floods, as amudhanAr was immersed in the flood that is the experience of emperumAnAr’s auspicious qualities he wanted some company to enjoy that; ANdAL also wanted adiyArs (nIrAdap pOdhuvIr pOdhuminO [thiruppAvai 1]) for sharing her divine experience;

as he searched for such a company in both this world and the other world, the nithyasUris and mukthars, are, like said in ‘sadhA pashyanthi’, they were fully immersed in the enjoyment of parathvam (emperumAn in srIvaikuNtam), happily singing sAma gAnam, and as said inna uba janam smaran idham sarIram’ (when an AthmA leaves, it sets sight only on the other world, and would not even see its own sarIram – body – and definitely not look at the relatives), the nithyasUris and mukthars are not paying any attention to leelA vibUthi (where amudhanAr was present);

in leelA vibhUthi, the samsAris were ignorant, and as said in ‘nandhanthi udhitha AdhithyE, nandhanthi asthamithEravau’ (sun rises –> happiness because we are going to go out and enjoy the world; sun sets -> happiness because going to enjoy with family at home; enjoying this world); and as said in ‘uNdiyE udaiyE ugandhu Odum im maNdalam’ [perumAL thirumozhi 3-4 of kulasEkara AzhwAr] they were just happily involved in eating, dressing, etc., and as said in ‘puRamE puRamE Adi’ [thiruvAimozhi 5.1.1] were focusing their mind on the hair of women and were not focused on the truth, and were deep in material aspects;

{What about emperumAnAr’s adiyArs (disciples) who were living at that time with emperumAnAr? Would even they have ignored amudhanAr’s call for enjoyment?} –

Those with deep knowledge of the truth as having connection with emperumAnAr, were, like said in ‘pAlE pOl seer’ [periya thiruvanthAdhi 58], finding joy in auspicious qualities of emperumAnAr, and like ‘kAl Azhum nenju azhiyum’ [periya thiruvandhAdhi-34] , were deeply immersed in it;

So none of these four were giving company to amudhanAr, and so he is calling his mind which is always commonly available during good and bad times, to give him company.

vyAkyAnam

There is a considerable parallel between this pAsuram and yathirAja vimsathi. (Also, yathirAja vimsathi is pUrva kAndam for ramAnuja dhvayam; and Arthi prabandham is uththara kAndam (srImathE rAmAnujAya nama:)  vEdhAnthAchAryar’s yathirAja sapthathi includes both kAndams about rAmAnujar😉

pU_mannu_mAdhu_57wm3da

pU mannu mAdhu – pU -> lotus; pU mannu -> padhmE sthithAm -> pirAtti well set in the lotus flower. (This is in the last part of pAcha rAthram, lakshmi thanthram where periya pirAttiyAr talks to indhran about her vaibhavam – that is srI suktham). malar mEl mangai – also means the same.

It was as if the fragrance and beauty of the lotus flower was in the form of periya pirAttiAr.

It was as if the definition of pirAtti was to be on the lotus flower.

 mAdhu_porundhiya_mArbanmAdhu porundhiya mArban (one having lakshmi in his divine chest)

(mAdhu) porundhiya mArban – but once emperumAn took her to be her consort, and as she enjoyed the divinity of his chest (mArbu), she forgot all about the lotus flower, and is always staying in his divine chest – agalagillEn iRaiyum (would never leave (his divine chest)) [thiruvAimozhi 6-10-10] –

sarvEshwaran who has got such a divine chest – mArban.

amudhanAr does not directly specify the name of emperumAn, but says the one having the chest in which pirAtti is always residing;

mArban-> mAdhu (pirAtti) is nirUpaka dharam (one who is the identifier) for emperumAn.

visEshya bhUthan -> based on mAdhu porundhiya mArbu (he is being identified based on pirAtti).

This sort is common like in ‘mAmAn magaLE [thiruppAvai 9] (Oh (maternal) uncle’s daughter);

Similarly, ennuL kalandhAn [thiruvAimozhi 2-5-2] is a name for emperumAn as given by AzhwAr emperumAn getting immersed in AzhwAr is the identifying factor of emperumAn!

shradhdhaya dhEva: dhEvathvam ashnuthE-  because of periya pirAtti, dhEvan gets referred to by the name of dhEvan.

In srI rAmAyaNam, mArIchan says ‘apramyEam hi thaththEjA’ => his valor is beyond the comprehension of mind. Whose valor?, He says ‘yasyasA janakAthmaja’ – the one who is the husband of sItha.

Similarly,
pithus satha guNam mAthA’ – a mother possesses 100 times more qualities than a father; gowravENa athirichyathE – such is the greatness of the mother by her own qualities.
Similarly, because of pirAttiyAr, emperumAn gets his greatness.

mArban_pugazh_malindha_pAmArban pugazh malindha pA (whose vyAkyAnam was propagated by mAmunigaL)

(mArban) pugazh malindha pA – pA: poetry/pAsurams.

The auspicious qualities and greatness of emperumAn are spread (malindha) throughout the pAsurams (of nammAzhwAr).

Following are from the beginning, middle, and end of thiruvAimozhi of nammAzhwAr where the qualities of emperumAn are described.

uyarvara uyar nalam [thiruvAimozhi 1-1-1] -> against adhvaitham -> guNa visishta brahmam is parAthpara thathavam (brahmam with qualities/characteristics is the truth about creator of all).

ayaRvaRum amarargaL adhipathi-> Controller/owner of both the worlds

udal misai uyir enak karandhengum parandhuLan [thiruvAimozhi 1-1-7]-> vyApthi -> He is there everywhere.

sudar migu surudhiyul uLan  [thiruvAimozhi 1-1-7] -> emperumAn is known from the vEdhas. (not fully just by sight (prathyaksham),  or knowledgeable guess (anumAnam);

emperumAnAr uses the deep meanings of this pAsuram as the guiding lamp in his srI bAshyam -> as azhagiya maNavALap perumAL nAyanAr also said in AchArya hrudhayam: idhu koNdu sUthra vAkyangaLai orunga viduvar; as emperumAnAr at the end of his arguments says, so this is thus explained/related/solved; ithi samanchasam).

For jIvAthmA the gyAnam is its behaviour due to which its effect is spread throughout the body;
For paramAthmA – by its nature it is spread everywhere. It is not like just the pillar touching the roof. But spread into everything.

neer thoRum parandhuLan -… aNdam idhena [thiruvAimozhi 1-1-10] -> emperumAn is vyApakam (pervaded) including inside the pillar, roof, etc.  And even in small places like a water drop, he is comfortably set, similar to being comfortable in space.

It is not just vyApakam, but he is also controlling everything – niyanthruthvam.
vyApakathvam vs. niyanthruthvam :
AkAsam (space) is having vyApthi -> but no niyamana sAmarthyam (ability to control).
A king does not have vyApthi – he can be in only one place a time -> but he posses niyamana sAmarthyam – just a waving of his hand can change things in his kingdom.
It is emperumAn who has got both the abilities.

onrum thEvum … [thiruvAimozhi 4-10] => kAraNathvam – he is the cause/creator of everything.

ulagam uNda [thiruvAimozhi 6-10] -> keerthi – greatness

puNarAninRa maramEzh .. [thiruvAimozhi 6-10-5] – talks about srI rAma’s valor, strength, and victories; such qualities

nOlAdhu ARREn una pAdham [thiruvAimozhi 6-10-8] -> sarva easwra easwaran. – He is the controller of all the controllers.

sen thAmarai kat chengani vAi [thiruvAimozhi 6-10-9] -> His beauty- soundaryam (that attracted AzhwAr)

muniyE nAn muganE [thiruvAimozhi 10-10].. explains that He is there in everything, everything is part of his divine body;

and finally in the pA (thiruvAimozhi pAsurams of nammAzhvAr):

In the pAsuram of suzhndhu aganRu [thiruvAimozhi 10-10-10] ->
pAzh => prakruthi => non-sentient.
chOdhi => AthmA is part of the body of emperumAn

Thus nammAzhwAr describes ten auspicious qualities of emperumAn in thiruvAimozhi throughout (beginning, middle, and end).

such – pugazh malindha pa -> pa : poetry/prabandham – is thiruvAimozhi etc., of nammAzhwAr.

 parankusa_nayakimARan who attracts emperumAn

(pA) mannu mARan -> as AzhwAr was immersed in emperumAn’s nature and qualities, that experience could not be controlled inside, and came out for us due to the force of his bhakthi, and since it came out from emperumAn himself through nammAzhwAr, and as AzhwAr mentions ‘kavi amudham’ [thiruvAimozhi 8-10-5] and ‘thoNdarkku amudhu uNNa chol mAlaigaL chonnEn’ [thiruvAimozhi 9-4-9], he was fully enjoying the prabandham himself.

mARan – the divine name of nammAzhwAr – it is the prime means for us;

Like said in ‘vinAshAya chadhushkruthAm’ AzhwAr through his pAsurams destroyed the other philosophies, reformed such people and brought them under the correct view, and was the cause of removing their samsAram;

mARan – removes ignorance;

on the other hand,

mARan – makes emperumAn lose his mind in ecstasy as in ‘minnidai madavAr’  [thiruvAimozhi 6-2] as AzhwAr takes the form of parAnkusa nAyaki (female state of mind); and in ‘UNil vAzh uyir’ [thiruvAimozhi 2-3-1] emperumAn mixes with Azhwar into one due to His love; AzhwAr having such greatness.

azhwar-emperumanar-2emperumAnAr at the lotus feet of nammAzhwAr

(mAran) adi paNindhu uyndhavan (irAmAnusan)in such AzhwAr’s divine feet, rAmAnujar has surrendered and achieved the goal (of mOksham / winning of other philosophies and so forth).

adi – just the divine feet of AzhwAr, not even the whole AzhwAr, that is dear to emperumAnAr;

it is the root of his getting attracted to AzhwAr; that is, AzhwAr is the swAmi for emperumAnAr;

paNindhu – having surrendered (to AzhwAr’s divine feet)

srImath thadhangriyugaLam praNamAmi mUrdHnA (surrendering to your divine feet) – said ALavandhAr;

Thus this prabandham is shown as being in charama parva nishtai (final state of being – being subservient to devotees).

uyndhavan – for him (emperumAnAr), sustenance (ujjeevanam) is not dependent on food, liquids, etc; AzhwAr gave the divine feet for his survival instead; after getting AzhwAr’s divine feet, rAmAnujar was immersed in that experience only; even though they were separated by time, when AzhwAr gave all the details to nAthamunigaL, AzhwAr first meditated on the form of rAmAnujar, and emperumAnAr also thought about AzhwAr lovingly giving the bhavishyadhAcharyar vigraham to nAthamunigaL, and since AzhwAr is thus an Acharyan, emperumAnAr had held onto the divine feet of AzhwAr, and based his srI bHAshyam on the teaching of Azhwar saying ‘uNNum sORu, parugu(m) neer, thinnum veRRilai ellAm kaNNan emperumAn’ [thiruvAimozhi 6-7-1]; and emperumAnAr was living rectifying the processes in various divya dhEsams, and got his life’s use based on these from AzhwAr’s blessings – AzhwAr sat in one place and sang about dhivyadhEsams, but emperumAnAr fulfilled by physically going to these dhivyadhEsams and setting them up properly.

nammazhvar_bavishyadhAchar

palkalaiyOr – Those who are sakala sAsthra pArINar – well versed in all the sAsthrAs – nanmaiyAl mikka nAn maRaiyALargaL [kaNNinuN chiruthAmbu – 4] – like kUrEsar (kUraththAzhvAn), kurugEsar (piLLAn), gOvindhar (embAr), dhAsarathy (mudhaliyANdAn) had already surrendered to emperumAnAr, while other experts like yAdhava prakAsar, and yagya mUrthy (aruLALap perumAL emperumAnAr) were won over and reformed about vishitAdhvaitham and later they became ardent sishyAs of rAmAnujar.

thAm manna – after understanding the correct meanings without any doubt, surrendered to rAmAnujar, never to leave his feet.

vandha – (emperumAnAr) came from paramapadham by requirement of sarvEshwaran.

rAmAnusan – same as chakravarthy thirumagan (rAmar) – in following the words of elders; following the truth; establishing the dharma; love towards AchAryan; gave mOksham to every one related to him;

charaNAravindham – such emperumAnAr’s divine feet

aravindham – manmadhan’s arrow contains lotus flower in its tip. Here the lotus flowers are the divine feet of emperumAnAr.

jalaja dhvaya -> plural form of feet of emperumAn. (there may be a doubt in getting help from emperumAn since he is svathanthran (independent))

but says: pAdha bhaktham – for nammazhvar -> singular form.

because=> pAvanathvam (medicinal for our karmAs) and bhOgyathvam (enjoyment) -> are from the same source -> so using singular noun for feet. { marundhE nangaL bhOga magizhchchikku -> dhvaya manthram }

manni -> without hesitation or doubt we would like to be living under emperumAnAr’s divine feet always.

Previous ‘manni’s would definitely happen – they would be set in their goals without fail; This manni might not happen due to our karmas etc., so he pleads to the mind.

nAm vAzha -> plural -> calling us, even though we ignored him (due to which he talked to his  mind/heart for enjoying with him).  Eka: svAthu na bhunjItha. (do not eat alone for yourself)

solluvOm avan nAmangaLE – let us recite/say rAmAnujar’s names.

vAchA dharmam avApnuhi – it is a big dharma to speak about the greatness of him.

In the case of bhagavan -> mAnasa kainkaryam is important (by mind).

Here, just vAk kainkaryam would be enough (reciting).

Similarly, nAvinAl naviRRu inbam eidhinEn [kaNNinuN chiruththAmbu – 2] – (said it with my tongue) – why mention tongue when ‘said’ is enough? => there, madhurakavi AzhwAr says that even without help of manas (mind) I just said his names.

Just reciting his names would lead to the means and goal that is rAmAnujar’s divine feet.

anyOnyam -> just personally he and his mind – we shall enjoy that divine feet. says amudhanAr.  bodhayantha: parasparam -> said krishNan

avan nAmangaLE => thEvu maRRaRiyEn [kaNNinuN chiruththAmbu – 2] -> we would say only ramAnujan’s name. Even if we are not able to engage the mind and body, at least saying the names would do.

ramanuja_vaibhavam_8_perramanuja_vaibhavam_5_per

Following are the 11 divine names of rAmAnujar among many others -> from ‘periya thirumudi adaivu’:

  • iLaiyAzhvAr – parents

Next 4 names given by emperumAns:

  • bHUthapurIsar -> adi kesava perumal in sri perumbuthur
  • udaiyavar -> namperumal
  • yathirAjan -> dhEva perumAL
  • dhEsikEndhran -> thiruvenkadam udaiyan

Next 5 names given by his AchAryas.

Other:

  1. srI bhAshyakArar -> sAradhA dEvi.

There are also other names;

yAthindhrar
yathipathi
yathirAt
yathikula thuryar
yathi sArva boumar

gurOr nAma sadhA japEth – always be reciting AchAryan’s divine names.

chEthana samAdhi -> saying as if mind is like a chEthanam (sentient) -> mind is achith (non-sentient), but saying ‘solluvOm’ (let us recite, to his mind) -> due to its help for reciting rAmAnujar’s names.

AzhvAn said ‘hantha’ -> ha! ha! can’t believe even creatures (janthu) like me are surrendering to his feet by saying the nAmam of rAmAnujar; with (unreasonable) wish of gaining any eligibility to change from a janthu.

vEdham oru nAngin uL podhindha meip poruLum [gyAna/pramEya sAram] -> inner meaning; AchArya abhimAnam

pU mannu mAdhu porundhiya-> srI mathE
mArban pugazh malindha -> nArAyaNa (kalyAna guNangaL (auspicious qualities))
mArban -> charaNau (upalakshanam (stands for) -> thiruvadi (divine feet))
paNindhu uyndhavan -> charaNam prapadhyE

mAmunigal’s : (it matches this 1st pasuram of ramAnusa nuRRanthAdhi):

srI mAdhava anghri jalaja dhvaya – 2 lotus feet
nithya sEvA -> ozhivil kalam ellam [thiruvAimozhi 3-3-1]  – kainkaryam in those divine feet at all times without interruption
premAvilAsa ya – bhakthi overflowing
parAnkusa -> that is by parAnkusar (nammAzhwAr)
pAdha bhaktham rAmAnujam -> (mARan) adi panindhu uyndhavan.

Arthi prabandham -> thamizh of yathirAja vimsathi line discussed above, ‘pU magaL kOn .. nenjamE vAzh’ – jeeyar also said to his mind. (this matches the first pAsuram of rAmAnusa nURRanthAdhi as well).

– – – – –

Translation: raghuram srInivAsa dhAsan

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rAmAnusa nURRanthAdhi – avathArikai (Introduction)

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<< thaniyans

Based on mAmunigaL‘s and piLLai lOkam jIyar‘s avathArikai

sriya:pathi (srI mahAlakshmi’s husband), parmakAruNikan (one with immense mercy), sarvEswaran (emperumAn who controls everything), was being the object of complete enjoyment for those in nithya vibhUthi (srIvaikuNtam),

paramapadhanathan

but He saw that in leelA vibhUthi (the section of the universe that is for His playing where AthmAs spend time based on their karmas), where jIvAthmAs in the matter that is a mixture of three characteristics of sathva (tranquility), rajas (action/anger), and thamas (laziness/idleness), are spending time on activities that draw them more and more into samsAram (cycle of worldly existence) and are sucked in to that huge vortex and not finding the shore to climb out to, even though they are equally eligible to enjoy the nectar of happiness that is emperumAn which is enjoyed by nithyasUris (who are in srIvaikuNtam forever, who have not been affected by karmas);

emperumAn, feeling terrible about this, determined that He would alert them about their relationship with Him and save them out of the ocean of samsAram, and so in the beginning of kali yugA arranged for nammAzhwAr’s avathAram, and blessed him with unblemished inner knowledge (mayarvaRa mathinalam),

nammazhwar-madhurakavinammazhvAr – madhura kavi

… and nammAzhwAr, using that knowledge, was immersed in sarvEswaran’s true nature, form, characteristic, and wealth, and as it overflowed, to address that, he blessed the world with dhivya prabandham, and blessed the knowledge to madhurakavi AzhwAr.

Based on that, madhurakavi AzhwAr sang “mikka vEdhiyar vEdhaththin uL poruL niRkap pAdi en nujuL niRuththinAn” [kaNNinuN chiru thAmbu 9] (he explained the inner meanings of the vEdhas and made me understand its inner meanings), and (so), “thEvu maRRaRiyEn” [kaNNinuN chiru thAmbu 2] (do not know any, other than nammAzhwAr) (charama upAyam – final means, that is AchArya abhimAnam);

Later as sriman nAthamunigaL requested for those great meanings, nammAzhwAr crossed the limit of archai (vigraham/statue) and opened his divine mouth and gave all of the meanings and inner meanings to nAthamunigaL, and through him is how this sampradhAyam (culture/ways of srIvaishNavas) came to be.

nammazhwar-madhurakavi-nathamuninammazhwAr with madhurakavigaL and nAthamunigaL

So this chain of AchAryas giving advice and correcting the sishyas was available to His devotees; as emperumAn wished to propagate all these meanings and inner meanings to all the people in this world, the world which is of the nature that encourages ignorance, He commanded thiruvananthAzhvAn (Adhi sEshan), and so he descended into srIperumbUthUr; he learned all the sAsthras, and as told by dhEvap perumAL through thirukkachchi nambigaL he understood very well about the truth, ways, and goal; and through the compassion of periya perumAL, he was given full control to manage this world and srIvaikuNtam, and nurtured the sampradhAyam grown from nAtha/yAmuna muni by understanding the inner meanings of truth, ways, and goal, and was advising these to his close sishyAs like kUraththAzhwan, and was living in srIrangam.

ARu_vArthaidhEvapperumAL gave the six truths to emperumAnAr through thirukkachchi nambigAL

During that time, thiruvarangaththu amudhanAr, even though he was well versed in all the sAshthras, was not knowing about the sath-sampradhAyam (tradition as propagated through nathamunigaL as explained above). So, emperumAnAr due to his causeless mercy (nirhEthuka krupai) reformed him through kUraththAzhwAn; and amudhanAr surrendered to AzhwAn, who showed him emperumAnAr’s divine feet as the means, and so amudhanAr considered those divine feet as everything, and was immersed in them all the time; (thus kUraththAzhwan performed purushakAram/recommendation).

Koorathazhvan_In_Piratti_thirukkolam (Large)kUraththAzhwan in pirAtti (srI mahAlakshmi) thirukkOlam (attire)

As that experience of the mind was overflowing, the opportunity arose for amudhanAr to use the words to express his love, and also due to his extreme kindness that the other devotees need to get this meaning and knowledge and experience it easily, that knowledge overflowed as 108 pAsurams in the thamizh poem form of ‘kaliththuRai anthAdhi’, which included emperumAnAr’s divine name in each pAsuram; and so this was happily followed by the great preceptors as ‘prapanna gAyathri’ and so is being (mandatorily) recited every day with love by the prapannas (ones who are surrendered to emperumAn).

emperumAnAr_ThirumEniyil_pUrvacharyargaL (Large)All pUrvAchAryas depicted as part of emperumAnAr’s divine thirumEni (form)

– – – – – – –

Translation by raghuram srInivAsa dAsan

archived in http://divyaprabandham.koyil.org

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srIvaishNava education/kids portal – http://pillai.koyil.org

 

rAmAnusa nURRanthAdhi – thaniyans

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SrI:  SrImathE SatakOpAya nama:  SrImathE rAmAnujAya nama:  SrImadh varavaramunayE nama:

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vyAkyAnam for thaniyans  (invocations) – by piLLai lOkam jIyar

1st thanyan (invocation)  – by vEdhap pirAn bhattar:

munnai vinai agala mUngil kudi amudhan
ponnam kazhar kamalap pOdhu iraNdum – ennudaiya
chennikku aNiyAgach chErththinEn then pulaththArkku
ennuk kadavudaiyEn yAn

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aVathArikai (introduction)

(adiyEn) wore in my head, as a decoration, the two beautiful divine lotus feet of amudhanAr of mUngil kudi; (so) as my accumulated karmas are decimated, why would adiyEn be answerable to the yaman, etc., of the south side?

NoToYaman

vyAkyAnam

  • munnai vinai agala – All my ever-accumulated good and bad karmAs due to good and bad deeds, are removed – how?  due to amudhanAr’s thiruvadi (lotus feet) was set in my head.
  • mUngil kudi amudhanperiyAzhwAr said ‘vEyar thangaL kulam’, and amudhanAr is said to be  belonging to ‘mUngil kudi’.
  • pon am kazhal kamalp pOdhu iraNdumamudhanAr’s two divine lotus feet that makes us to be longed for, and which Is beautiful,
  • ennudaiya chennikku aNiyAgach chErththinEn – For his (amudhanAr’s) head the decoration is rAmAnujar’s lotus feet (105th pAsuram); for me amudhanAr’s lotus feet.
  • chennikku aNiyAgach chErththinEn – placed in my head as a decoration.
  • Like said by “chemmA pAdha paRputh thalai chErththu” [thiruvAimozhi 2-6-1]. There it is a prayer/request; here it is an accomplishment/success.
  • then pulaththArkku – yaman and his servants at yamapuram.
  • ennuk(u) kadavu udaiyEn – why would I be responsible for experiencing the fruits of good and bad karmas? Since my karmas have gone, there is no experience of its fruits. So there is no interaction between me and those who give me to experience the fruits of karmas. Like there is no connection between nectar and poison, there is no connection between those who are related to thiruvarangaththu amudhanAr’s divine feet, and those in the south side (yaman and his servants).
  • yAn – adiyen, who decorated my head with amudhanAr’s divine lotus feet.

 ——–

2nd thaniyan (invocation) – by vEdhap pirAn bhattar:

nayam thaRu pEr inbam ellAm pazhudhu enRu naNNinar pAl
sayam thaRu kIrthi irAmAnusa muni thAL iNai mEl
uyarndha guNaththu thiruvarangaththu Ongum anbAl
iyambum kaliththuRai anthAdhi Odha isai nenjamE

Listen

avathArikai

Dear mind! Please agree to recite the rAmAnusa nURRanthAdhi that is made of kaliththuRai anthAdhi (grammar for a form of thamizh poetry), created by thiruvarangaththu amudhanAr who is having ever growing bhakthi (devotion) towards rAmAnujar who has got the greatness of getting victory to those who reached him and followed based on his advice that the enjoyment given by the senses are useless, and kept their minds away from it.

vyAkyAnam

  • nayam tharu(m) pEr inbam ellAm – The bliss that comes from enjoying the pleasures of senses. ‘nayam’ – vishayam – object of senses. Like said in ‘nANAmai naLLEn nayam [mudhal thiruvanthAdhi 63], here also it is talking about the pleasure of senses like sound, taste, etc. (shabhdhAdhi). Even though they provide low level pleasure, it says ‘pEr inbam’ (higher level bliss) as per the opinion of the illiterate.
  • naNNinar pAl – In the matter of those who reached the support of (emperumAnAr)
  • pazhudhu enRu – after inquiring that these are to be gotten rid of
  • sayam thaRu keerthi irAmAnusanemperumAnAr would help them achieve victory (out of) the samsAram. It is AzhwAn and amudhanAr who left the lowly pleasures and reached emperumAnAr. And amudhanAr said “akkAdhal aLaRRil azhundhum en Aviyai vandhu eduththAn‘ [42] to imply emperumAnAr saved him from lowly pleasures. Also, “kAmAdhi dhOsha haram Athma padhAshrithAnAm rAmAnujam yathipathim” [yathirAja vimsathi 1]. This is the greatness of emperumAnAr, getting us victory. Like said in “sayap pugazhAr” [thiruvAmozhi 3-1-11].
  • irAmAnusa muni thAL iNai mEl … – It is asking the mind to recite the prabandham that was created as a vAchika kainkaryam (service through words/speech) towards rAmAnujar’s two divine feet. That is clear from how it is the main topic of the prabandham as set in the beginning, middle, and end of the prabandham, so to emphasise this aspect – ‘irAmanusan charaNAravindham’ [1], ‘ramAnusan than iNai adi’ [50], and ‘rAmAnusan adip pU mannavE’ [108] – all mentioning emperumAnAr’s divine feet.
  • uyarndha guNam – Unlike others, the character of being involved in charama parvam (last level/stage) of being subservient to AchAryan.
    • When there is difficulty in this world in finding people devoted to emperumAn, it is very rare to find those who are immersed in AchAryan’s well-being and sing praises on him, so (author of thaniyan is) praying his mind to agree to recite rAmAnusa nURRanthAdhi. Could say – since there is nobody to be found to listen to this request, he is requesting his mind itself.
    • Or, it is also recited as “nayam thaRu pEr inbam ellAm pazhudu inRi naNNi nam pAl sayam thaRu kIrthi irAmAnusa muni” – that is, as we considered all the enjoyments to be emperumAnAr only and so reaching him for his support, he would give victory for us from the samsAram.
    • Or, it could be attributed to emperumAnAr that he ignored the lowly pleasures as – ‘nayam tharu pEr inbam ellAm pazhudhu enRu’. (naNNi) – he surrendered to nArAyAnan. (nanpAl) – having good characteristics – that surrending to emperumAn is considered by emperumAnAr as the goal. (sayam thaRu kIrthi irAmAnusan) – not only for himself, even those who surrendered to emperumAnAr are able to win the samsAram by his help.

 – – – – – –

3rd thaniyan – by vEdhap pirAn bhattar

sollin thogai koNdu unadhu adippOdhukkuth thoNdu seyyum
nal anbar Eththum un nAmam ellAm enRan nAvin uLLe
allum pagalum amarumpadi nalgu aRu samayam
vellum parama irAmAnusa idhu en viNNappamE

Listen

avathArikai (introduction)

Oh rAmAnuja who won over the other six philosophies! As the dear disciple thiruvarangaththu amudhanAr performs vAchika kainkaryam to your divine feet by keeping in his mind the (108) pAsurams created with beautiful words, adiyEn plead that such name of yours (from these 108 pAsurams), be also set in my tongue at all times – day and night.

vyAkyAnam

  • sollin thogai koNdu – deciding on the way of doing the prabandham; or, using the union of words,
  • unadhu adippOdhukku – to dhEvarIr’s divine lotus feet
  • thoNdu seyyum – he (amudhanAr) creates the poems (pAsurmas) as a vAchika kainkaryam
  • nal anbar Eththum – amudhanAr who is ananyaprayOjana bhakthi yukthar (~devoted to you without expecting any other benefits);   anbar – one having bhakthi towards emperumAn; nal anbar – one having bhakthi towards AchAryan. Or, including amudhanAr all the devotees of rAmAnujar – then ‘sollin thogai’ would mean collection/group of words having rAmAnujar’s divine name.
  • un nAmam ellAm – all the divine names that he/they recite due to the ecstasy based on bhakthi; since there is only one name that is rAmAnujar, the plural form ‘names’ here is to be taken as all the pAsurams of this prabandham having the name of rAmAnujar.
  • endhan nAvin uLLE – inside the tongue of me who is eager to recite such divine names
  • allum pagalum amarumpadi nalgu – Like said in “naL iruL aLavum pagalum nAn azhaippan” [periya thirumozhi 1-1-5] (will say day and night the name of nArAyaNa) , please help to have your name set in me whether day or night.
  • aRu samayam vellum parama – oh the great, who won over all other six philosophies; this is same as what amudhanAr says in a pAsuram here ‘kURum samayangaL ARum kulaiya’ [46].
  • irAmAnusa – the name having four letters/syllables, bigger than the name of nArAyaNa, please help for all your names to stay in my tongue, whether day or night. {amudhanAr sang in this prabandham ‘iravum pagalum vidAdhu endhan sidhaiyuLLE niRaindhu oppaRa irundhAn” [47] (emperumAnAr is there is my mind day and night …); if we are able keep his divine name in our tongue day and night, then he would fill our minds day and night?}
  • idhu en viNNappamE – this is my plea.

 – – – – – –

4th thanyan – by sOmAsiyANdAn

ini en kuRai namakku emperumAnAr thirunAmaththAl
muni thandha nURRettuch chAviththiri ennu nuNporuLaik
kani thandha chenjchol kaliththuRai anthAdhi pAdith thandhAn
punithan thiruvarangaththu amudhAgiya puNNiyanE

Listen

avathArikai (introduction)

With us having the essence of sAvithri manthra which itself can be said as the essence of all the vEdhas, which could be suitably named as prapanna gAyathri, with all the one hundred and eight pAsurams having the divine name ‘rAmAnujan’, that is provided to us which is a great help of amudhanAr, there is no deficiency for us in this and the other world.

vyAkyAnam

  • ini en kuRai namakku – there is no loss – in this world we say the divine name of rAmAnujan – ‘solappugil vAi amudham parakkum – rAmAnusan enRu solluminE’  (43) said amudhanAr – in amudhnAr’s mouth, the amudham (nectar) would secrete upon saying his name. (or the nectar that are the granthams that came from rAmAnujar); Since his name helps in getting mOksham, there is happiness not only in this world but in that world also. So, what worry is there for us hereafter?  AraNya kANdam – lakshmaNa mentions to rAmA that he wonders how bharathan tolerates the cold sarayu river when taking bath in the wee hours; this makes rAmA forget himself and he talks of even going back to ayOdhya to care of bhArathA. He asks lakshmaNA to talk more about “bharathan the chief of ikshvAku”. So rAmA’s opinion is that it is like a nectar (amudham) to talk about rAmA’s brother (anujan), bharathan.  He (emperumAnAr) is also rAma anujan! Talking about him also is sweet and so helps us in this world.
  • emperumAnAr thiru nAmaththAl – The author of this thaniyan, sOmAsiyANdAn loves to use the name ‘emperumAnAr’, hence he says that name in this thaniyan instead of saying rAmAnusar. “sOmAsiyANdAn ’emperumAnAr’ enRAl thirunAmam niRam peRumAp pOlEyum’ [eedu for thiruvAimozhi 6.5.7] (the name ’emperumAnAr’ gets its full meaning when it is said by sOmAsiyANdAn). There is an issue with emperumAn’s divine name – it helps to tie us in the samsAram as well; but emperumAnAr’s divine name does not have that problem since it helps us only in getting mOksham.
  • muni thandha – sarvEswaran is referred to as ‘muni’ – root from manana shIla: – as emperumAn thinks deeply about helping the AthmAs. After creating brahmA, He first gave him gAyathri manthra with praNavam, and then the vEdhas. That manthra is recited 108 times. Its inner meaning is praNavam – it consists of a (அ) – for emperumAn, u (உ) for pirAtti (one who connects/recommends), and ma (ம) – devotees. u is also udaiyavar who connects/recommends. emperumAn likes his adiyAr’s (devotee) name more than His name – this prabandham recites rAmAnujar’s name 108 times in the 108 pAsurams.
  • Now, by thathsavithurvarENyam it talks about nArAyANan in the solar world; He gave sAvithri mathra and removed the darkness of this world through the sun; rAmAnujar is rAmAnuja divAkarar (sun that is rAmAnujar) who removes the darkness from our minds.
  • The essense of thirumanthram is sEshathvam (subservience) to His adiyArs.
  • ‘nin thiruvettezhuththum kaRRu nAn uRRadhum un adiyArkku adimai’ [periya thirumozhi 8-10-3] (~ learning the thirumanthram, I became subservient to your devotees).
  • kali thandha senjchol . . . – kali: smartness/power – here the prabandham gave us the divine names.
  • senjchol – sweet words. spoken words that are congruent with the thoughts and actions. This is how eedu explains senjchol in thiruvAimozhi 10.6.11 as well. So, it can be concluded that all the three senses are in union when we recite the prabandham rAmAnusa nURRanthAdhi.
  • kalith thuRai anthAdhi – in the thamizh poetry form of ‘kalith thuRai’.
  • senjchol kalith thuRai anthAdhi – anthAdhi makes it is easier to know the next pAsuram. (last part of previous pAsuram becomes first part of current pAsuram and so on).
  • pAdith thandhAn – amudhanAr gave this for the future generations (us) to enjoy and immerse in the glories of rAmAnujar.
  • punidhan – amudhanAr who is pristine; the pristine way in which he gave us this prabandham; will make the opposite type of people to become pristine; amudhanAr praises the punidhan who praises Lord parasurAma [56].
  • thiruvarangaththu amudhAgiya puNNiyanE – Virtuous thiruvarangaththu amudhanAr.irAmAnusan mikka puNNiyanE’[91] – virtue that came from the great virtuous emperumAnAr.

pAsuram words are to be arranged as – virtuous thiruvarangaththu amudhan gave us the kaliththuRai anthAdhi using the names of emperumAnAr, so what problems do we have from now on?

This thaniyan is recited in thirunArAyaNapuram temple only.

pillailokam-jeeyarpiLLai lOkam jIyar

– – – – –

Translation by raghuram srInivAsa dAsan

archived in http://divyaprabandham.koyil.org

pramEyam (goal) – http://koyil.org
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pramAthA (preceptors) – http://guruparamparai.wordpress.com
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rAmAnusa nURRanthAdhi

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

rAmAnusa nURRanthAdhi (spelt as irAmAnusa nURRanthAdhi in thamizh) is written by thiruvarangaththu amudhanAr, about the glories of SrI rAmAnujar and how he is devoted to AzhwArs and his AchAryas. It also includes the glories of thiruvarangaththu amudhanAr’s AchAryan kUraththAzhvAn and his dear relationship with rAmAnujar.

e-book – https://1drv.ms/b/s!AiNzc-LF3uwygw4OFWGknpObQsQD

irAmAnusan adip pUmannavE (Let SrI rAmAnuja’s lotus feet decorate our head constantly – last pAsuram of this prabandham)

thiruvarangaththu amudhanArthiruvarangaththu amudhanAr

Audio

For nAlAyiram (4000 dhivya prabandham), kaNNinuN chiruth thAmbu is set out to glorify nammAzhwAr; similar to that, rAmAnusa nURRanthAdhi is set out to glorify emperumAnAr.

thiruvarangaththu amudhanAr’s avathAram is on panguni hashtham, at SrIrangam, kumArar of aNi arangaththu amudhanAr, from the family of ‘mUngil kudi’.

He wrote this prabandham during the lifetime of rAmAnujar itself, and he got it approved by rAmAnujar. thiruvarangaththu amudhanAr got the permission from emperumAnAr to write this prabandham and started the work; and when seated in thennanchOlai thirumaNdapam (a maNdapam in a garden) near adaiyavaLaindhAn thirumaNdpam, and when he was about to write the last 3 pAsurams, emperumAnAr arrived there. So amudhanAr stood up out of respect and recited the last 3 pAsurams. After the prabandham was published, kUraththAzhwAn decided that for this prabandham let there be three sARRu pAsurams (pAsurams recited twice during completion – whereas for other dhivya prabandhams it is only two last pAsurams) in remembrance of this incident, and from then on this has been the norm.

Once during a sapthAvaraNam (the day after thIrthavAri during brahmOthsavam), namperumAL asked emperumAnAr not to join the dhivya prabandham gOshti, and He ordered that none of the instruments be played during the procession in the thiruvIdhi (streets), and He asked for SrIvaishNavas to recite this rAmAnusa nURRanthAdhi and enjoyed it so (this continues even today in SrIrangam periya kOyil where during sapthAvaraNam except at the junction of thiruvIdhi the instruments are not played during namperumAL’s procession – this is in remembrance of the above heart-melting incident). And rAmAnusa nURRanthAdhi has been included as end part of iyaRpA and is recited as the last prabandham in 4000 dhivya prabandham. And it is not recited during anadhyayana kAlam similar to that for 4000 dhivya prabandham.

This prabandham is set such that each pAsuram mentions the divine name of rAmAnujar, and consists of 108 pAsurams – so the author has created it to serve as ‘prapanna sAvithri’ (gAyathri for prapannas), to be recited every day by SrIvaishNavas so that we say emperumAnAr’s name 108 times every day.

periya jIyar (maNavALa mAmunigaL) has written short explanations (urai), and piLLai lOkam jIyar has provided detailed vyAkyAnam, for this prabandham.

This vyAkyAnam was initially published by collecting it from palm-leaf scrolls during the year of 1891. After that it was re-published only in 1999! It is like each pAsuram did a penance for one whole year, totaling 108 years, in order to reach us!! So it is very important for each SrIvaishNava to hear/read the vyAkyAnam of rAmAnusa nURRanthAdhi.

vaibhavam (Glories)

About the translation

An attempt is made here to translate in English the vyAkyAnam of rAmAnusa nURRanthAdhi – or at least parts of vyAkyAnam of each pAsuram.

For this translation, adiyOngaL (we) will be perusing the following invaluable sources.

  1. SrIvaishNavaSrI’s (www.srivaishnavasri.com) publication of “thiruvarangaththamudhanararuLichcheidha irAmanusa nURRanthAdhi mUlamum, idhaRku periya jIyar aruLich cheydha uraiyum, piLLailOkAchArya jIyar aruLich cheidha vyAkyAnamum”.
  2. AzhwAr thirunagari SrI U.Ve. vidhwAn thirumalai nallAn chakravarthy rAmakrishNa iyangAr’s “irAmAnusa nURRanthAdhi amudha virundhu ennum virivurai” (virivurai : detailed explanation).
  3. Other sources like dictionary for samskritha / thamizh words were used.

With the blessings of asmadh AchAryan, AzhwAr, emperumAnAr, and jIyar we shall proceed with the translation. We invite you to come in and immerse yourself in the divine meanings of this wonderful and essential prabandham.

– – – – – –

Translation by raghuram SrInivAsa dAsan

archived in http://divyaprabandham.koyil.org

pramEyam (goal) – http://koyil.org
pramANam (scriptures) – http://granthams.koyil.org
pramAthA (preceptors) – http://acharyas.koyil.org
SrIvaishNava education/kids portal – http://pillai.koyil.org

thiruvezhukURRirukkai – 13

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srI:
srImathE satakOpAya nama:
srImathE rAmAnujAya nama:
srImath varavaramunayE nama:

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sARRuppAdal by kambar (Concluding pAsuram by poet kambar)

Poet kambar has sung a pAsuram on thirumangai AzhwAr, which we recite at the end of thiruvezhukURRirukkai.

idam koNda nenjaththu iNangik kidappana
enRum thadam koNda thAmarai sUzhum malarndha thaN pUnkudanthai
vidam koNda veN pal karum thuththi chenkaN thazhal umizh vAi
padam koNda pAmbaNaip paLLi koNdAn thiruppAdhankaLE

Word by word meaning:

kudanthai – In thirukkudanthai
sUzhum – that is surrounded
ponni – by kAvEri
thAmarai koNda thadam – and by the ponds having lotuses
thaN pU – full of cool/nice/pleasant flowers
malarndha – that have blossomed,

paLLi koNdAn – ArAvamudhAzhvAr is lying down
padam koNda pAmbu aNai – in the bed that is thiruvananthAzhwAn (Adhi sEshan) who has opened his hood,
vidam koNda – who is having venom
veN pal – and white teeth,
karum thuththi – dark dots (in the hood)
sem kaN – and reddish eyes,
thazhal umizh vAi – and with mouth spitting fire;

thiru pAdhangaLE – (such ArAvamudhAzhvAr’s) beautiful divine feet (only)
enRum iNangik kidappana – is always felt in
nenjaththu – (thirumangai AzhwAr’s) heart
idam koNda – (heart that is) wide and deep.

Simple meaning

In this section, we see kambar’s poem on thirumangai Azhwar, which is recited at the end of thiruvezhukURRirukkai.

Similar to thirumangai Azhwar who described thirukkudanthai in thiruvezhukURRirukkai, kambar describes thirukkudanthai, and AravamudhAzhwAr, and thiruvananthAzhvAn, and that emperumAn‘s thiruvadi (divine feet) is what is always present in thirumangai AzhwAr‘s wide and deep heart.

avathArikai (Introduction): This song that is said to be authored by the poet kambar is recited at the end of thiruvezhukURRirukkai. In this, kamba nAttAzhvAr describes the greatness of thirumangai AzhwAr.

vyAkyAnam

ponni – thAmarai koNda thadam sUzhum : Should read the meaning as: Surrounded by the river cauvery, and by ponds having lotus flowers, thaN pUnkudanthai – is thirukkudanthai which is full of pleasant and cool flowers; in that place, emperumAn is having sayanam.

Describes the bed in which He is lying down by saying: vidam koNda … pAmbaNai .

vidam koNda veNpal – Having venomous white teeth to bite the asuras and rAskshasas

karum thuththi – having black dots in the hood

sem kaN – As he is always alert to protect emperumAn, he is having reddish eyes due to fear/doubt.

thazhal umizh vAi – As said in “Angu AravAram adhu kEttu azhal umizhum pUnkAr aravaNai” [nAnmugan thiruvandhAdhi 10], due to fear/doubt (about enemies trying to harm emperumAn), he is having mouth that spit fire.

padam koNda pambaNaip paLLi koNdAn – As thirumangai AzhwAr himself sang in thiruvezhukURRirukkai “Adu aravu amaLiyil aRi thuyil amarndha parama”, starting from “veN pal” till here, kambar immerses in the beauty of ArAvamudhAzhvAr’s bed that is thiruvananthAzhwAn’s whiteness of teeth, blackness of the dots (in the hood), redness of the eyes, and the color of flames from the mouth, whiteness of the hood, bluish hue of the body – that is kambar is enjoying the beauty of mixture of colors of thiruvananthAzhvAn.

thiruppAdhangaLE – only the two beautiful divine feet,

idam koNda nenjaththu iNangik kidappana – As thirumangai AzhwAr himself graced the words “veLLaththAn vEnkataththAnElum kalikanRi uLLaththinuLLE uLan kaNdAi” [periya thirumozhi 11-5-10], as emperumAn loves the big and deep heart of thirumangai Azhwar, His two beautiful divine feet always reside in one part of his heart.

As said in ubhaya vEdhanthas (samskrthm and thamizh): “vishvasya Ayathanam mahath” [nArAyaNa suktham] (it is the heart that is a big temple of sarvEshwaran), and “nenjamE neeL nagarAga irundha en thanjanE!” [thiruvAimozhi 3-8-2], the srIvaishNavas’ hearts are talked as grand temples and wide places for Him to reside.

thirukkudanthai_aravamudhazhvar_divine_feet

{
In srIvachana bhUshaNam, piLLai lokAchAriar says (with rough translation):

ankuththai vAsam sAdhanam, inkuththai vAsam sAdhyam – His stay in temples is the means; His stay in srIvaishNavas’ hearts is the goal.

… idhu sidhdhiththAl avaRRil Adharam mattamAi irukkum” – IF emperumAn gets a place here (heart), then he would try to neglect that place (temple).

iLam kOyil kai vidEl enRu ivan prArththikka vENdumpadiyAy irukkum” – the devotee would have to plead to emperumAn not to neglect so.

prApya prIthi vishayathvaththAlum, kruthagyathaiyAlum, pinbu avai abhimathangaLai irukkum” – Due to emperumAn’s love towards the srIvaishNavar, and due to emperumAn being grateful to the temple for getting Him these hearts, he would then continue to reside in the temples.

idam_koNda_nenjangaL_thiruvAli_thirunagai_uthsavam_2013 (Small)Hearts where emperumAn resides (photo from thiruvAli thirungari AzhwAr uthsavam 2013)

}

Conclusion of kambar’s sARRu pAsuram related to thiruvezhukURRirukkai.

Conclusion of translation of thiruvezhukURRirukkai

AzhwAr thiruvadigaLE charaNam
emperumAnAr thiruvadigaLE charaNam
periyavAchchAn piLLai thiruvadigaLE charaNam
jIyar thiruvadigaLE charaNam
puththUr ‘sudharsanam’ krishNamAcharya swamy thiruvadigaLE charaNam

– – – – – –

Translation by raghuram srInivAsa dAsan

archived in http://divyaprabandham.koyil.org

pramEyam (goal) – http://koyil.org
pramANam (scriptures) – http://srivaishnavagranthams.wordpress.com
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thiruvezhukURRirukkai – 12

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srImathE satakOpAya nama:
srImathE rAmAnujAya nama:
srImath varavaramunayE nama:

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pAsuram where thirumangai AzhwAr performs sharaNAgathi to thirukkudanthai ArAvamudhan.

kunRA madhumalarch chOlai vaNkodip padappai
varupunal ponni mAmaNi alaikkum
sennel oN kazhanith thigazhvanam uduththa
kaRpOr purisai kanaka mALigai
nimirkodi visumbil iLampiRai thuvakkum
selvam malgu then thiruk kudanthai
anthaNar manthira mozhiyudan vaNanga
Adaravu amaLiyil aRithuyil amarndha parama
nin adi iNai paNivan
varum idar agala mARRO vinaiyE.

Word by word meaning

kunRA madhu – having unlimited honey
malar chOlai – (from the) groves full of flowers,
vaN kodi padappai – and with gardens having beautiful creepers,
ponni – with cAuvEry river
varu punal – always having proliferating water,
mA maNi – and the best gems
alaikkum – great in number thrown by its waves,
sennel oN kazhani – having fields that are beautified by rice of yellowish hue,
thigazh vanam uduththa – surrounded in all the four sides by wilderness / grove / forest,
kaRpOr purisai – town inhabited by the learned,
kanakam mALigai nimir kodi – flags fluttering upward from the golden palaces/mansions
visumbil – in the sky
thuvakkum – touching/caressing
iLa piRai – the young moon,
selvam malgu – (it is the) wealthy and
then thiru kudanthai – beautiful thiruk kudanthai,
Adu aravu amaLiyil – (where you are leaning) in the bed of Adhi sEshan with its open hood
aRi thuyil amarndha – and involved in doing yOga nidhrai (meditating sleep),
anthaNar – (that is suitable for) brAhmaNas
manthiram mozhiyudan vaNanga – to recite vEdha sukthas;
parama – hey paramEshwara!
nin adi iNai paNivan – am surrendering to your two divine feet
varum idar agala – for the removal of hurdles that may come in the way (of reaching You);
mARRu vinai – please remove those hurdles by your mercy.

thirukkudandhai_aravamudhAzhvArthirukkudanthai ArAvamudhAzhvAr

Simple meaning

In this concluding pAsuram, thirumangai AzhwAr surrenders to the lotus feet of thirukkudanthai emperumAn. He describes the wealth and nature of the place, how river cauvEry with its rich water base brings in gems and other valuables, how the learned ones living there – like thirumazhisai AzhwAr whose fame spread in all the eight directions – worship the emperumAn with their vEdhanthA sUkthis, and so on.

Like nammAzhwAr, here thirumangai AzhwAr also surrenders to ArAvamudhan’s divine feet, and pleads Him to get him rid of the samsAram.

vyAkyAnam

Now, “kidandhavARu ezhundhirundhu pEsu” (~ please get up and converse) [thirchchandha viruththam 61], (sung by thirumazhisai AzhwAr), that is, if devotees request/command, He would do as requested/commanded, so thirumangai AzhwAr considers the sowlabhyam (neermai / easiness of attainment) of, and where beauty resides, that is AravamudhAzhwAr, and surrenders to Him similar to nammAzhwAr surrendering to Him.

azhwar-thiruvadi-thozhal

kunRA madhu malarch chOlai – Having groves with ever increasing sumptuous honey, and the flowers that keep adding such honey; if they were fed with manure/fertilizer and water, then those flowers of honey might not grow – since these groves are growing by the flood of nectar that is the divine sight of aravamudhAzhvAr, they grow as during ever existing spring season.

vaNkodip padappai – Having beautiful aquatic lands (or gardens) of posts of creepers (or the creepers), and having straws (padappai) and such various creepers, such gardens; or it is talking about aquatic lands having beetel leave plants. ‘vaN’ refers to richness of it and the beauty that shows because of it.

varupunal ponni mAmaNi alaikkum – Description of the river Cauvery. Having overflowing richness of water, that brings along and accumulates precious gems; (and the river as described in various texts): “chanjchachchAmara chandra chandhana maHa mANikya mukthOthkarAn kAvErI laharIkarair vidhadhathI” [rangaraja sthavam 1-21] ( kAvEri that comes carrying attractive chAmaram (white hair from the yak tail – used in Fan/whisk), green camphor, sandal, best gems, pearls); “ALariyAl alaippuNda yAnai maruppum agilum aNimuththum veNsAmaraiyOdu ponni malaippaNdam maNdath thiraiyundhu” [periya thirumozhi 3-8-3]; chandhinOdu maNiyum kozhikkum punal kAviri” [periya thirumozhi 5-4-1], “vEyin muththum maNiyum koNarndhu Ar punal kAviri” [periya thirumozhi 5-4-9], “thisai vil vIsum sezhu mAmaNigaL sErum thirukkudanthai” [thiruvAimozhi 5-8-9]”  so made are the pAsurams on kAvEri, isn’t it?

sennel oN kazhaNi – due to kAviri the rice fields are growing in abundance and they prosper, and so they look beautiful; the place is having such beautiful fields;

thigazh vanam uduththa – due to the ever flowing water, abundant forests are surrounding the place;

kaRpOr purisai – In the place where it was said “thisai vil veesum sezhumAmaNigaL” [thiruvAimozhi 5-8-9], that talked about great personalities who lived in the city (thirukkudanthai), like thirumazhisai AzhwAr and others whose fame spread in all eight directions, “purisai” stands for puri – city/place. Or, when read as “puri sei” it implies the city that was made; Or, “purisai” as the protective wall”, like “kaRpu Or purisai” where the divine walls have nice designs made in them.

kanaka mALigai – in the palaces/mansions made of gold,

nimir kodi visumbil iLam piRai thuvakkum – the flags that are mast in such palaces, are long and tall and such that they, up in the sky, caress the young moon with their hoods – shows the greatness of the palaces; thuvakkum – can consider as touching it by surrounding the moon, or as stopping it.

selvam malgu then thirukkudanthai – In thiruk kudanthai that is of the best wealth and sweetness. ‘selvam malgu’ to show the greatness of wealth, ‘then’ to show its sweetness.

andhaNar manthira mozhiyudan vaNanga – brAhmaNas who consider only You as their desire, who are well versed in the vEdhas, go unto you and recite the vEdhAntha sUkthis which they safeguard from being heard by those not qualified/eligible, as said in “manthram yathnEna gOpayEth” [try hard and hide/safeguard the manthras].

Adu aravu amaLiyil aRi thuyil amarndha parama – expanded due to the contact of emperumAn’s divine body, He lies down on that thiruvananthAzhwAn (AdhisEshan) as the bed, and thinks deep about helping the world; and due to that You appear apt to be said as “You are The sarvEshwaran”!

Adu aravu – snake that dances with its hood open. Also can say that as thiruvananthAzhwAn inhales and exhales, he is like a sleeping cradle as he shrinks and expands his body.

nin adiyiNai paNivan – am surrendering in your divine feet. Even if You shun me, those divine feet would accept me, and so am with determination have taken your divine feet as the means. {pirAttiyum avanum vidiul thiruvadigaL vidAdhu, thiN kazhalAi irukkum – mumukshuppadi}

varum idar agala – For the enemies that appear in this world which prevent me from enjoying your divine feet and also from enjoying your nature, appearance, and character (svarUpa rUpa guNam), which is ..

mARRO vinaiyE – the connection with the samsAram, You please rid me of that biggest sin/trouble.

adiyiNai paNivan … maRRO vinai – adiyEn surrendered to you as the means as per my (AthmA’s) nature; You please rid me of the sadness because of connection with the samsAram, as per Your nature. Like nammAzhwAr who said “thariyEn ini un charaNam thandhu en sanmam kaLaiyAyE” [thiruvAimozhi 5-8-7], thirumangai AzhwAr thus surrenders to Him with divine thiruvadi as the means for getting rid of unwanted and for achieving the wanted (anishta nivruththi, ishta prApthi).

thirumangai-azhwarNote: This section concludes the vyAkyAnam for thiruvezhukURRirukkai. One more thing.. there is a next section, which is about what poet kambar has written as a pAsuram about thirumangai AzhwAr; traditionally it is also included when reciting thiruvezhukURRirukkai.

– – – – – –

Translation by raghuram srInivAsa dAsan

archived in http://divyaprabandham.koyil.org

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thiruvezhukURRirukkai – 11

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srI:
srImathE satakOpAya nama:
srImathE rAmAnujAya nama:
srImath varavaramunayE nama:

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1-2-3-4-5-6-7-] 6-5 – 4-3-2-1  (ends)

aRu vagaich chamayamum aRivaru nilaiyinai
aimpAl Odhiyai Agaththu iruththinai

aRamudhal nAngavaiyAy mUrththi mUnRAi
iruvagaip payanAi onRAi virindhu ninRanai

Word by word meaning

aRu vagai chamayamum – Six type of other philosophies
aRivu aru – cannot know/understand
nilaiyinai – You; such is your nature;
aimpAl Odhiyai – pirAtti whose hair is identification of five ways of hair;
Agaththu iruththinai – have placed her in your divine chest.
—-
aRam mudhal nAngu avai Ay – You are the one who grants the four goals – aRam (dharma), poruL (things/wealth), inbam (pleasure), vIdu (srIvaikuNtam)
mUrthy mUnRu Ay – as antharyAmi for the three mUrthys
iru vagai payan Ay – You are the one who creates happiness and sadness (based on karmAs)
onRu Ai virindhu ninRanai – just the self (in the beginning), and then expanded as the whole world.

Simple translation

These phrases talk about the aishwaryam (parathvam) of emperumAn.

It is impossible for those denying the emperumAn, that is those who believe in other six philosophies to reach/know emperumAn.

You have placed srIdhEvi pirAtti in your divine chest, where she stays at all times, to do purushakAram (recommendation).

You are the grantor of the four goals of beings; you are the antharyAmi of the three mUrthys; You are the one who controls the happiness and sadness of beings according to their karmas; You who was the only One existing during praLayam (annihilation), expanded into many, and gave names and shapes to things, and You are responsible for their being as the antharyAmi.

So it is not possible for me to lose you because of any lack of greatness/aishwaryam on Your part, says thirumangai AzhwAr.

vyAkyAnam

aRuvagaich chamayamum aRivaru nilaiyinai – It is not possible to know You by those who do not accept you, that is, chArvAkar, bouththar, samaNar, naiyAyika’vaishEshikar (thArkkikar), sAnkyar, pAshupadhar;   by this, Azhwar implies the meaning, “When you are beyond reach for those who do not accept you, you are beyond reach even for me who accepts you!”

aimpAl Odhiyai Agaththu iruththinai – You hold periya pirAtti in your divine chest; periya pirAtti having the five identifications of a good hair – being curled, shining, fragrant, dense, and soft.

Agaththu iruththinai – thiruvadi (hanuman) was corrected by pirAtti, “pApAnAm vA shuBhAnAm vA vaDhArhANAm plavangama | kAryam karuNamAryENa  na kashchith nAparADhyathi ||“ [rAmAyaNam yudhdha kANdam 116-44] (hey vAnara! whether one has done sins or good deeds, even if they are to be killed, even in their matters a just person should show kindness. There is no one (in this world) who has not done any mistakes!); such pirAtti is kept in Your divine chest such that she is always available for purushakAram (recommendation);

pApAnAm_vaWhen saying “mangaiyar iruvarum varuda”   in a previous phrase, it referred to both srIdhEvi and bhUdhevi as doing purushakAram, but here it mentions the importance of srIdhEvi who is always present in the divine chest of emperumAn; so this is not insignificant. Or, it can be taken as this referring to srIdhEvi here to imply that emperumAn gets His aishwarya, (parathva), soulabhyam, beauty etc., due to pirAtti only. This idea is used in the upcoming phrases.

To begin with it talks about His aishwaryam.

aRam mudhal nAngavaiyAy – You are the four goals (purushArtham) – that are, aRam (dharma/charity), poruL (things/wealth), inbam (pleasure/happiness) and vIdu (srI vaikuNtam); “chathurNAm purushArththAnAm dhAthA dhEva: chathurBhuja:” [nArAyaNan who has got four arms, is the one who grants the four purushArthas].

“dhEvEndhras thriBhuvanam arththamEkapinga:
sarvardhDhim thriBhuvanagAm cha kArththavIrya: |
vaidhEha: paramapadham prasAdhya vishNum
samprAptha: sakala pala pradhO hi vishNu: ||”   [vishNu dharmam 43-47]

[ By worshiping vishNu, dhevEndhra got three worlds, kubEran the wealth, kArththa vIryan the fame that spread to the three worlds, and janaka mahArAjan the paramapadham; such is vishNu bhagavAn who grants what one wishes.] – so since he is the one who can give the four goals, He himself is those goals, so says AzhwAr.

mUrthy mUnRAi – Three mUrthys, that are: brahmA, rudhra, and indhra; emperumAn is the antharyAmi in them; Or, if considering the three – brahmA, vishNu, rudhra, then it talks about how emperumAn stands between the two and does the protection himself, and does the creation and destruction as antharyAmi in brahmA and rudhra.

srushti sthithi anthakaraNIm brahma vishNu shivAthmikAm |
sa samjyAm yAthi BhagavAn Eka Eva janArthdhana: ||” [vishNu purANam 1-2-66]

[creation, protection, and destruction are the three activities for which janArthdhanan takes the three names (and forms) of brahmA, vishNu, and shiva], so said srI parasara rishi.

iruvagaip payanAi – happiness, sadness are the two types of states due to karmas – he is the one who controls them.

onRAi virindhu ninRanai – during praLayam (annihilation), all the things would be without any name or form and stick together with emperumAn, so he is said as ‘sadhEva” [chAndhokya upanishad 6-2-1], that is, He is the only one existing; then during creation, he decides “bahu syAm” [chAndhokya Upanishad 6-2-3] (I shall become many/multiply), and expands to many things that get name and form.

Or, instead of creation, and praLaya (annihilation) times, it can also mean that during all times, all the things are parts of Him, so we can say “sentient and non-sentient things are parts of the body of emperumAn; such emperumAn is the one truth” – he is such.

And it can be considered as follows. Even though He is having these things as his body, He is not affected by the blemishes of those things.

Starting from ‘aRamudhal” till current phrase, His aishwaryam (parathvam) has been mentioned. From this, AzhwAr has implied, “It is not possible for me to lose (You) because of any lack of aishwaryam on Your part”

Note: With this the phrases that follow a numbering pattern ends. In the next pAsuram of this prabandham, thirumangai AzhwAr surrenders to thirukkudandhai emperumAn.

– – – –

Translation by raghuram srInivAsa dAsan

archived in http://divyaprabandham.koyil.org

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thiruvezhukURRirukkai – 10

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srI:
srImathE satakOpAya nama:
srImathE rAmAnujAya nama:
srImath varavaramunayE nama:

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1-2-3 ] 4 – 5 – 6-7

neRi muRai nAl vagai varuNamum Ayinai

methagum aimperum pUthamum nIyE

aRupadham muralum kUndhal kAraNam
Ezhvidai adangach cheRRanai

7bullskaNNan fighting the seven bulls to get nappinnai pirAtti

Word by word meaning

nAl vagai varuNamum Ayinai – You control all four varNas (category of births)
neRi muRai – who conduct themselves according to sAsthra

mE thagum ai perum pUthamum nIyE – You are the antharyAmi of all the five elements (bhUthams) into which AthmAs can enter into and get set into them.

aRupadham muralum kUndhal kAraNam – For nappinnai pirAtti to whose hair the bees (six legs) come buzzing (for enjoying the honey),
Ezh vidai – the seven bulls
adanga cheRRanai – (which you) crushed them together

Simple meaning

After talking in the previous phrase about yOga nidhrA (aRi thuyil – meditation) for protecting, it now talks about how He protects us, lets us be.

He created the four varNas and required them to follow the ways set for them, for worshiping Him.  He does not like to be worshiped in other ways by the respective people of the varNas. The varNas can be said as He himself.

He let the AthmAs set into the body that is made of the five elements, and lets us think that we are human, dhEva, etc.  He is the antharyAmi in these elements. Thus He protects us as He lets us be, and helps worship Him.

The above is common to every being, and thirumangai Azhwar mentions a special and specific case next – as how He crushed the bulls that prevented Him from getting nappinnai pirAtti who is beautiful, that bees would buzz around her hair that is having honey, flowers;

Azhwar wishes that emperumAn would remove the hindrances that prevent Him from getting Azhwar too.

vyAkyAnam

After talking in the previous phrase about yOga nidhrA (aRi thuyil) for protecting, it now talks about how He protects us.

neRi muRai nAl vagai varuNamum Ayinai – You are the four varNas (brAhmaNa, kshathriya, vaishya, and shUdhra) who conduct themselves within the respective limits set by the sAsthras. Says that these four varNas are under your control. Since you gave these four varNas to the AthmAs, and since you are the target of the conduct/worship of these varNas according to their ways, it can be said that ‘You are the four varNas’, is the opinion.

aham hi sarva yagyAnAm bhOkthA cha praBhurEva cha’ [gIthA – 9-24] (I am the one who enjoys all the yagyas (that are performed for me); I am the benefactor who gives benefits for them), and

varNAshrama AchArvathA purushENa para: pumAn | vishNur ArADhayathE panthA nAnyas thaththOshakAraka: ||” [vishNu purANam 3-8-9] (vishNu is worshiped only by those men who live according to the dharma of their varNAshramam; He does not get happiness when done in other ways), and

“chAthur varNyam mayA srushtam” [gItha 4-13] (all the four varNas are created by me)

– these are the meanings of what sAsthras have provided, isn’t it?

——

mEthagum aimperum pUthamum nIyE – The elements of the body into which AthmAs enter and get set – earth, water, fire, air, space – all these grand elements are You only. That is, they are controlled by You.

mEthagu – enter and settled well into; that is, as said in ‘yAdhAnum Or Akkaiyil pukku angu AppuNdum” [thiruviruththam 95] – the AthmAs enter the bodies of dhEvas, humans, etc., and they get set into them to the extent of making them think “dhEvOham manushyOham” (I am a dhEva, I am a human), and they become eligible to follow the karmAs according to those bodies they entered into.

Saying “nAlvagai varuNamum Ayinai; aim perum pUthamum nIyE” , Azhwar shows the meaning, “for my body and its ways, the existence, being, and activities (saththA, sthithi, pravruththi) are under your control, so is there anyone to protect me other than You?”

—–

In yOga nidhrA, emperumAn thought of the protection of beings, and the previous phrase talked about the common aspects of creation, existence, etc. Now it talks about a special case of Him protecting nappinnai pirAtti.

aRupadha muralum kUndhal – bees, which have six legs, are buzzing around and settling into the hair of nappinnai pirAtti, for the sumptuous honey ; for the reason of getting such a nappinnai..

Ezh vidai adangach cheRRanai – without missing any of the sever bulls you crushed their necks and killed; the bulls which were preventing you from hugging such a pirAtti;

By this, “Like how you removed the hindrances for getting nappinnai pirAtti, please grace me and remove the hindrances that prevent You from getting me” is the idea that thirumangai AzhwAr shows in this phrase.

– – – – – – –

Translation by raghuram srInivAsa dAsan

archived in http://divyaprabandham.koyil.org

pramEyam (goal) – http://koyil.org
pramANam (scriptures) – http://srivaishnavagranthams.wordpress.com
pramAthA (preceptors) – http://acharyas.koyil.org
srIvaishNava education/kids portal – http://pillai.koyil.org

thiruvezhukURRirukkai – 9

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srI:
srImathE satakOpAya nama:
srImathE rAmAnujAya nama:
srImath varavaramunayE nama:

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1-2-3-4-5-6-7-6-5-4-3 ] 2-1 – 1-2-3

nin Iradi onRiya manaththAl
oru madhi mugaththu mangaiyar iruvarum malar(a/e)na
am kaiyin muppozhudhum varuda
aRi thuyil amarndhanai

thirumagaL_maNmagaL_kUsi_pidikkum_melladi_aRi_thuyil

Word by word meaning

oru madhi mugaththu mangaiyar iruvarum – the two pirAttis, srIdhEvi and bHUdhEvi (thirumadanthai, maNmadanthai) with unparalleled divine face like the moon,
onRiya manaththAl – (with their) mind immersed in
nin Ir adi – your two divine feet
muppozhudhum – (they) always
varuda – press/caress (your divine feet)
malar ena am kaiyin – using their beautiful hands that can be said as flowers
aRi thuyil amarndhanai – while you are immersed in meditating sleep (yOga nidhrA).

Simple meaning
thirumangai Azhwar next says that it would be possible for him to enjoy the beauty of emperumAn because of the purushakAram (recommendation) of pirAttis (divine consorts) who because of their beauty are able to make emperumAn listen to their words.
The phrase describes the beauty of the hands of srIdhEvi and bhUdhEvi who at all times carefully caress the lotus feet of emperumAn; emperumAn being in the state of deep thinking, for figuring out how to help the worlds, especially His adiyArs (devotees);
Azhwar concludes that it would not be possible for emperumAn to not help him enjoy emperumAn when there are pirAttis who would make sure of that, with their beauty, age, and service to emperumAn.

vyAkyAnam

nin Iradi . . .thirumangai AzhwAr shows that for getting the benefit of enjoying his beauty, there is also support of able mediation (purushakAra balam).

nin Iradi onRiya manaththAl – with their mind focused on dhEvarIr’s divine feet; by this it shows their ananya bhOgyathvam (not enjoying anything other than emperumAn);

oru madhi mugaththu – unlike the moon seen in this world, their faces are like a complete moon without any blemish, and their faces are pleasant and show how they are drinking the beauty that is emperumAn.

mangaiyar iruvarum – Like said by “thulyasheelavayO vruththAm” [rAmAyaNam – sundhara kANdam 16-5] [she possesses equivalent character, age, and actions (as emperumAn)], and by “yuvathishcha kumAriNI” [she is near the end of young girlhood and near the beginning of womanhood ], they with their suitable age can make emperumAn their bhaktha and a mad lover (like said in “pAr vaNNa mada mangai paththar piththar pani malar mEl pAvaikku” [thirunedunthANdakam 18] ) – such are the two pirAttis – srIdhEvi and bhUdhEvi (thirumadanthai and maNmadanthai).

malar ana am kaiyin – with beautiful hands, as if they touch with flowers; phrase is recited differently too as ‘malar ena am kaiyin’ ; if we try to compare with flowers, their hands are even softer and more beautiful than the flowers; since their hands are soft, colorful and fragrant, it is not possible to provide a comparison for them, is the concept here. //  Like said by: “chandhra kAnthAnanam rAmam athIva priyadharshanam” [rAmAyaNam ayOdhyA kANdam 3-29] [sweet like the moon, appearing sweeter than the moon, that is rAman]

muppozhudhum varuda – During all the three times – future, current, and past (edhir, nigazh, kazhivu), they caress emperumAn’s divine feet with so much hesitation (to avoid disturbing the delicate and beautiful lotus feet) as said in “vadivu iNai illA malar magaL maRRai nila magaL pidikkum mel adi” [thiruvAimozhi 9-2-10].

aRi thuyil amarndhanai – As You keep thinking while lying down, “how to save the whole world, especially how to save his devotees?”,  you are in such a state that you would not get up even if arrows are thrown at You!

nin Iradi … mangaiyar iruvarum … adi varuda” – by this it implies thirumangai AzhwAr saying, “It is not possible for adiyEn to not get the benefit (You) due to any lack of mediators/recommendation (purushakAram) (since both pirAttis are there).”

aRi thuyil amarndhanai” – “It is not possible for adiyEn to not get the benefit (You) because of any lack in Your part of thinking of saving your devotee (since you are always thinking about saving everyone)”.

– – – – – – – –

Translation by raghuram srInivAsa dAsan

archived in http://divyaprabandham.koyil.org

pramEyam (goal) – http://koyil.org
pramANam (scriptures) – http://srivaishnavagranthams.wordpress.com
pramAthA (preceptors) – http://acharyas.koyil.org
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thiruvezhukURRirukkai – 8

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1-2-3-4-5-6-7 ] – 6 – 5-4-3 [2-1

kURiya aRu suvaip payanum Ayinai

sudar vidum aimpadai ankaiyuL amarndhanai
sundhara nAL thOL munnIr vaNNa
 

Word by word meaning

kURiya aRu suvaip payanum Ayinai – six types of tastes (mentioned in the sAsthras) is You who is all such tastes for me.
—-
am kaiyuL – In your beautiful divine hands
amarndhanai – you hold
sudar vidum ai padai – the five weapons that are bright;
sundhara nAl thOL – having four beautiful shoulders
munnIr vaNNa – Oh emperumAn, having the beauty like an ocean.

panchayudham

Simple translation

thirumangai AzhwAr considers emperumAn as all the tastes specified in the shasthrAs;

Azhwar enjoys the beauty of emperumAn’s four shoulders, which define the word beauty, and which give beauty to the ornaments worn; Azhwar asks emperumAn to let him fully enjoy such beauty.

 

vyAkyAnam

kURiya aRu suvaipp payanum Ayinai – sAsthras talk about six tastes that the people in this world use – salty, sour, saline/astringent, sweet, hot, and bitter (uppu, puLippu, thuvarppu, inippu, kArppu, kaippu (kasappu); You are these tastes for us. nammAzhwAr too sang “aRu suvai adisil enkO” [thiruvAimozhi 3-4-5]. You become the six tastes for the people and benefit them, you please be the six tastes – shad’rasAnnam (aRusuvai adisil – food with all six tastes) and give Yourself to us. This is the meaning thirumangai Azhwar shows in this phrase.

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For him, it is the five divine weapons that emperumAn holds, and the beautiful hands that holds them, are the food of six tastes – is what thirumangai AzhwAr shows in the next phrase.

sudar vidum aimpadai ankaiyuL amarndhanai – having wonderful appearance of shankam (conch), chakram (sudarsana wheel), gadhai (mace), sArngam (bow), nAndhakam (sword); even if they are not present, your hands are so beautiful, which require removing the casting of others’ (evil) eyes; with such beautiful hands you provided your grace to us by holding those weapons, like they are ornaments for such beautiful hands.

sundhara nAl thOL munnIr vaNNa – Shoulders that define the word beauty; that word beauty split in to four parts, that are your four shoulders; Like it is said “sarva bhUshaNa bhUshArhA: bhAhava:” [ramAyanam – kishkintha kAndam? 3-15], [shoulders fit for decorating all the ornaments], without having to use any ornaments to add beauty, the shoulders themselves are so beautiful; they create beauty; in reality they give beauty to the ornaments; One having such shoulders; river water, spring (URRu) water, and rain water – all the three get mixed (munnIr) in to oceans, and when people look at the ocean it their fatigue would be removed and feel fresh; in the same way you remove our fatigue by your beautiful form; AzhwAr implies that He should make him fully enjoy this beauty.

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Translation by raghuram srInivAsa dAsan

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