SrI: SrImathE SatakOpAya nama: SrImathE rAmAnujAya nama: SrImath varavaramunayE nama:
<< Part 2 (periyAzhwAr thirumozhi, thiruppAvai, nAchchiyAr thirumozhi)
dhivya prabandhams are the aruLichcheyals (merciful compositions) of AzhwArs. We have seen their classification into mudhalAyiram, iraNdAm Ayiram, iyarpA and thiruvAimozhi. We have seen the constituents of each of the Ayiram (thousand). The classification and categorization was done by SrIman nAthamunigaL. It was by nammAzhwAr’s grace that today we have knowledge of the dhivya prabandhams. SrIman nAthamunigaL learned them directly from nammAzhwAr, along with their inner meanings. He received AzhwAr’s grace after chanting kaNNiNunch chiruth thAmbu 12,000 times. After the times of the last AzhwAr viz. thirumangai AzhwAr, SrI vaishNavam was not flourishing much. The revival of dhivya prabandhams through SrIman nAthamunigaL, and the classification and propagation through his Sishyas helped revive the SrIvaishNava philosophy.
So far, we have been having the anubhavam of the mudhalAyiram and have covered, in brief, thirupallAndu, kaNNinun chiruth thAmbu, periyAzhwAr thirumozhi, thiruppAvai, and nAchchiyAr thirumozhi. In each prabandham, we have covered the important aspects and the key ideas expounded.
Let us now have the anubhavam of perumAL thirumozhi.
perumAL thirumozhi:
It has been blessed to us by SrI kulaSEkhara AzhwAr, who is also addressed as kulaSEkhara p perumAL. He had great liking for rAmAvathAram and was devoted towards bhAgavathas. rAmAyaNa kathA used to be recited daily in his rAja sabhA and he would always be listening and enjoying the charithram. His desire was to visit SrIrangam and have dharSan of SrI ranganAthan.
He was born in the kshathriya clan and was a great warrior. By emperumAn’s grace, he was blessed with blemishless knowledge and was a great SrIvaishNava. His work is called as perumAL thirumozhi. Due to his great affection to SrI rAmar, kulaSEkhara AzhwAr is also addressed as kulaSEkhara p perumAL. SrI rAmar is addressed in our sampradhAyam as perumAL. This can be seen in many of AchArya/AzhwAr works. However, in our sampradhAyam SrI Krishna is always addressed as kaNNan/krishNan, just like addressing our own child. In fact, even using the honorific SrI is considered to create a distance between us and kaNNan, and is to be avoided.
perumAL thirumozhi has beautiful thaniyans. Using these, we can understand the glory of this prabandham.
1st thaniyan
innamudham UttugEn ingE vA paingiLiyE! *
thennarangam pAda valla sIrp perumAL * – ponnam
silai sEr nudhaliyar vEL sEralar kOn * engaL
kulaSEkharan enRE kURu
This thaniyan describes the glory of kulaSEkhara AzhwAr. Addressed to a pet parrot, it says that one should always sing the glory of kulaSEkhara AzhwAr, the king of chErAs, who is always singing the glories of SrI ranganAthan, who is eternally residing in SrIrangam.
2nd thaniyan
Aram kedap paran anbar koLLAr enRu * avargaLukkE
vArangodu kudap pAmbiR kai ittavan * mARRalarai
vIrangeduththa sengOl kolli kAvalan villavar kOn *
sEran kulaSEkharan mudi vEndhar sigAmaNiyE
This thaniyan speaks about the vaibhavam of kulaSEkhara AzhwAr and the great love and faith he had for adiyArs. Some of his ministers were jealous of the adiyArs (devotees). With the intent of harming their good name, the ministers hid some jewels from the sannidhi and put the blame on adiyArs.
kulaSEkhara AzhwAr declares that he will put his hands into a pot full of poisonous snakes, declaring that the adiyArs haven’t taken the jewel. In those times, this was used as a test to declare the truth of the statement made. Thus, kulaSEkhara AzhwAr who was not harmed by the snakes, demonstrated the innocence of the adiyArs. Such was his faith in them, that he put his life at risk to prove their innocence and that kulaSEkhara AzhwAr is celebrated here.
Main meanings from perumAL thirumozhi:
- Total 10 padhigams, 105 pAsurams.
- It Is focused on SrIrAmar.
- In the first three padhigams, AzhwAr does mangalASAsanam to SrIranganAthan of SrIrangam.
- In the next padhigam, he does mangalASAsanam to thiruvEnkatamudaiyAn.
- Next, he does mangalASAsanam for thiruviththuvakOdu dhivya dhESam.
- He then shows his affection to krishNAvatharam in sthrI bhavam (feminine mood), just like nammAzhwAr and thirumangai AzhwAr.
- In the last three padhigams, AzhwAr does a wonderful anubhavam of SrIrAmAvathAram.
dhivya dhESams primarily covered – SrIrangam, thiruvEnkatam, thiruvithuvakkodu, thiruchchiththirakUdam (last padhigam). AzhwAr associates thiruchchiththirakUdam with chitrakUtam in which place SrIrAmar spent time during vanavAsam,and has the anubhavam of gOvindharAja perumAL spending his time in a similar manner.
SrIrAmAyaNam is celebrated and considered to be SaraNAgathi SAsthram. Since perumAL thirumozhi celebrates primarily SrIrAmAvathAram, it is also considered as SaraNAgathi SAsthram. In SrIrAmAyaNam, we see multiple instances of SaraNAgathi starting with dhEvathas surrendering to emperumAn, dhaSarathan surrendering to paraSurAmar, iLaya perumAL surrendering to perumAL and pirAtti when going to forest, bharathAzhwAn doing SaraNAgathi to SrIrAmar in forest, although perumAL doesn’t accept his request to return to ayOdhyA. SrIrAmar himself performed SaraNAgathi to samudhra rAjan. vibhIshaNAzhwAn surrendering to perumAL is also seen.
perumAL thirumozhi highlights the greatness of SaraNAgathi.
In the first padhigam, AzhwAr does SaraNAgathi to SrIranganAthan. After undergoing SaraNAgathi, our elders say that for the prapaNNa, six vishayams (attributes) arise naturally. AnukUlyasya sankalpam (desire that our actions should be aligned with emperumAn’s preferences), prAthikUlyasya varjanam (stop doing things not liked by him), gOpthruthva varaNam (taking emperumAn as the rakshakan), kArpaNyam (thinking that we have nothing), mahAviSvAsam (complete faith that emperumAn will save us), Athma nikshEpaNam (keeping the AthmA only for the sake of emperumAn). This is explained with the example of “uranguvAn kaipaNdam polE..” where it is said that if someone falls asleep, while reading a book, the book will automatically fall and doesn’t require the holder of the book to explicitly put it down. Similarly, for a SaraNAgathan, the six vishayams will gradually develop. While AnukUlyasya sankalpam indicates the desire to do things liked by emperumAn, prAthikUlasya varjanam entails us to stop doing things not liked by him.
The six vishayams are well described in the subsequent padhigams.
In the next padhigam, AzhwAr does anubhavam of adiyArs. This is an example of AnukUlyasya sankalpam, as emperumAn desires us to be favourable to his adiyArs.
In the next padhigam, AzhwAr demonstrates prAthikUlyasya varjanam. He doesn’t desire to have this material body and the association with this material world.
In the next padhigam, where he has the anubhavam of thiruviththuvakOttu emperumAn, he talks about his kArpaNyam. He says that he has no gathi other than the thiruvadi of emperumAn.
In the next padhigam, where he has the anubhavam of thiruvEnkatamudaiyAn, he declares that his only desire is to be there for the Anandham of emperumAn and he has no other aim.
After doing anubhavam of archAvathAra emperumAns, he does anubhavam of krishnAvathAram. One padhigam is set in the tone of the angst of dhEvaki and another in the bhAvam of a gOpikA.
After this, in the last three padhigams, he has the anubhavam of rAmAvathAram. In mannupughazh..padhigam he sings a beautiful thAlAttu (lullaby) for SrIrAma in the bhAvam of kausalyA. In the next padhigam, he talks as dhaSarathan pulambiya pulambal (angst of dhaSaratha) when he is separated from SrIrAmar once he departs for vanavAsam.
In the last padhigam, the rAmAyaNa charithram is fully covered in a beautiful and lucid manner and declares that emperumAn is now residing in thiruchithrakUdam dhivya dhESam. With this, AzhwAr concludes this glorious and wonderful prabandham.
There is one more important point to note that after the first padhigam, where AzhwAr surrenders to emperumAn, in the very next padhigam he talks about and celebrates the vaibhavam of adiyArs. This is a very important aspect of this prabandham.
thiruchchandha viruththam
This is a beautiful prabandham. This has been blessed to us by thiumazhisaip pirAn. thirumahizsai AzhwAr is also addressed as thirumazhisaip pirAn.
Just like kulashEkhara AzhwAr is called as kulaSEkharap perumAL due to his great attachment to perumAL (SrIrAmar), thiumazhisai AzhwAr is addressed as thirumazhisaip pirAn.
thirukkudanthai emperumAn has the divine name ArAvamudha pirAn. thirumazhisai AzhwAr due to his great love and divine interactions with ArAvamudha pirAn is known as thirumazhisaip pirAn, whereas thirukkudanthai emperumAn is known as ArAvamudha AzhwAr. Thus emperumAn and AzhwAr have exchanged their titles, reflecting the great affection and association each has for the other.
thirumahizsai AzhwAr has composed two prabandhams namely nAnmugan thiruvandhAdhi and thiruchandha viruththam. It is more appropriate to say that these two are the only available prabandhams of AzhwAr. thirumahizsai AzhwAr had a very long life span of 4,700 years as per guru paramparA prabhAvam. He had composed many granthams/prabandhams. However, he felt that who is there to read and have anubhavam of these. He sunk all his work in the river kAvEri. Of all the works, the above two prabandhams were returned to him, indicating that these are to be saved and propagated. So, he saved these two prabandhams for the future generations.
thiruchchandha viruththam belongs to the “viruththap pA” and “Asiriya viruththap pA” group of thamizh grammar. One may wonder why it is not called thiruvAsiriya viruththam instead of thiruchchandha viruththam, then we must understand that chandam refers to beautiful melody. thiruchchandha viruththam is recited in the sannidhIs in an unique and beautiful rAgam compared to all other prabandhams. That is the reason behind this name.
This prabandham has two thaniyans. First one talks about the glory of thiruchchandha viruththam and the second one talks about the glory of AzhwAr.
1st thaniyan
tharuchchandhap pozhil thazhuvu thAraNiyin thuyar thIra*
thiruchchandha viruththamsey thirumazhisaip paran varumUr*
karuchchandhum kAragilum kamazh kOngum maNanARum*
thiruchchandhaththudan maruvu thirumazhisai vaLam padhiyE
This starts with talking about the glory of thirumazhisai, the place where AzhwAr took avathAram (birth). The place is full of chandhana and agil trees. The soil is fragrant and periya pirAtti resides here with great happiness. AzhwAr, who was born in this divine place, blessed us with thiruchchandha viruththam for the purpose of dispelling the dhu:kham (sorrow) of all those in this earth who recite/think about this work.
2nd thaniyan
ulagum mazhisaiyum uLLuNarndhu* thammil
pulavar pugazhkkOlAl thUkka* – ulagu thannai
vaiththeduththa pakkaththum* mAnIr mazhisaiyE
vaiththeduththa pakkam validhu.
This thaniyan highlights the glories of thirumazhisai. In the ancient times, for deciding the most appropriate place for doing tapas, brahmA used a weighing scale and placed all great thIrthas at one side and thirumazhisai on the other. The side bearing thirumazhisai was found to have a greater weight. Such is the glory of this divine place where AzhwAr took avathAram.
In nAnmugan thiruvandhAdhi, AzhwAr gave upadhESam to samsAris that this world, including brahmA and who in turn creates other dhEvathAs, has been created by SrIman nArAyaNa. Giving many arthams from SAsthrams, he gives upadhESam to samsArIs to exclusively follow empeurmAn (paramapadha nAthan). However, being disappointed by samsArIs not following the upadhESam, he decides that at least he should properly do the anubhavam of the great qualities of emperumAn, who is so delightful to experience.
In 120 pAsurams of thiruchchandha viruththam , AzhwAr beautifully experiences emperumAn. He has anubhavam of all the five nilai (states) of emperumAn viz. para, vyUha, vibhava, antharyAmi and archA
- param – His form in paramapadham, showing his parathvam / superior nature
- vyUha – His form in thiruppArkadal
- vibhavam – His many avathArams
- archA – His form in various dhivyadhESams
- antharyAmi – emeprumAn being in-dweller
nAnmugan thiruvandhAdhi can be taken as parOpadhESam and thiruchchandha viruththam should be taken as svAnubhavam of emperumAn’s forms and guNas. However, even in this he does parOpadhESam by talking to his manam (mind), which indicates giving upadhESam to his followers.
AzhwAr starts with experiencing the greatness (mEnmai) of emperumAn in the first part of the prabandham. In many pAsurams, he talks about empeumAn is reason for creation (jagathkAraNathvam), owner of both worlds, eternal paramapadam and created universe (ubhaya vibhUthi nAthan), how He brings forth this entire creation, how He is the antharyAmi of everything.
Coming to the 18th pAsuram – AzhwAr talks about the vaibhavam of how emperumAn is resting on AdhiSEsha in thiruppArkadal, thereby referring to his vyUha rUpam.
From the 19th pAsuram, AzhwAr does anubhavam of emperumAn’s various avathArams. He starts with hamsAvatharam, in which, in the form of a swan, he teaches the vEdhams to brahmA who had forgotten them. He does anubhavam of various other avathArams.
From the 49th pAsuram, he does archAvathAra anubhavam in a detailed manner. He does anubhavam of SrIranganAthan, thiruvEnkatamudaiyAn, thirukkudanthai emperumAn (very dear to AzhwAr) and many other dhivyadhESams. He also has anubhavam of His antharyAmi rUpam. He declares that emperumAn resides in these dhivyadhESams with the main purpose of making their way into AzhwAr’s heart. This highlights a very important sampradhAya meaning which explains the purpose of taking archA rUpam in various dhivyadhESams as to finally make way into the hearts of adiyArs.
Through “aththanAgi annaiAgi…” (115th pAsuram) AzhwAr declares that since emperumAn is present to grant us mOksham, he tells his heart not to grieve due to being immersed in the ocean of misery which is this material world. emperumAn has declared “mASucha::”, so we should not grieve. piLLai lOkAchAryar, in mumukshupadi, shows this pAsuram to be indicating the meaning of charama SlOkam. When emeprumAn is there to put so much effort into rescuing us, why should we worry?
In the last pAsuram, “iyakkarAdha pal pirappil ennai mARRi inRu..” AzhwAr clearly states that he attained paramapadham. Some AzhwArs clearly declare that they have attained mOksham (ex. nammAzhwAr in thiruvAimozhi). Similarly, here AzhwAr declares this through “arAdha inba veedu peRRadhE”.
thirumAlai and thiruppaLLiezhuchchi:
Both prabandhams have been composed by thoNdaradippodi AzhwAr. He used to reside in SrIrangam and carried out garland (pushpa) kainkaryam to emperumAn. He identified himself as thoNdaradippodi i.e he is servant to adiyArs (dhAsa to other dhAsas). He was in such a great state and had great love for emperumAn. He used to make garlands for emperumAn.
thirumAlai is famously glorified by the sentence “thirumAlai aRiyAdhAr thirumAlaiyE aRiyAdhAr” (those who don’t know thirumAlai can’t know thirumAl i.e SrIman nArAyaNa). So we all should know this prabandham well as AzhwAr has beautifully given many inner meanings in this work. Our AchAryas have declared that this prabandham should be well learnt by all SrIvaishNavas.
thirumAlai thaniyan: Authored by thiruvarangap perumAL arayar
maRRonRum vENdA manamE! madhiL arangar *
kaRRinam mEyththa kazhaliNaik kIzh *- uRRa
thirumAlai pAdum sIrth thoNdaradippodi em
perumAnai * eppozhudhum pEsu
Describes how AzhwAr is completely focused on the lotus feet of periya perumAL (who is none other than kaNNan emperumAn) and he thinks of nothing else. arayar tells his mind to always focus on thoNdaradippodi AzhwAr who is in such a state of single-minded focus on the lotus feet of periya perumAL.
Inner meanings in thirumAlai:
AzhwAr enjoys many aspects here. He starts with celebrating emperumAn’s thirunAma sankIrthanam (singing his divine names). He tells about the greatness of emperumAn’s divine names.
In the pAsuram “kAvalil pulanai vaithu..” AzhwAr says that we have no fear of yama. We will place our feet on his head due to our reciting emperumAn’s divine names.
Next, in the pAsuram “pachchai mA malai pOl mEni..” AzhwAr says that SrIranganAthan residing in SrIrangam, which our elders even call as thrithIyA vibhUthi i.e distinct from nithya and leelA vibhUthis, is so dear to AzhwAr and that he desires to only experience the divine avayavams (body parts) of SrIranganAthan and doesn’t desire to even attain paramapadham.
From the third pAsuram, AzhwAr enjoys the dhivya guNas of emperumAn and the glory of the archAvathArams of empeurmAn. AzhwAr says that it is only through the archA rUpam of SrIranganAthan that he developed desire in matters related to emperumAn. The same is also responsible for further development of this desire. The beauty of His divine body not only developed his desire in emperumAn, but also removed the klESas (sufferings) in his mind.
AzhwAr also talks about his lowliness (thAzhchchi) multiple times. He declares that he isn’t qualified for karma, gyAna and bhakti yOgams and only can hold on to emperumAn’s thiruvadi (divine feet). He wonders that despite being in such a dire situation and begging emperumAn to rescue him, why hasn’t he done that so far. In many pAsurams, AzhwAr talks about not having any good qualities and also says he is full of bad qualities.
The 38th pAsuram of this prabandham is very important.
“mEmporuL pOgavittu meymmaiyai miga uNarndhu…”. Here, AzhwAr mentions “vAzhum
sOmbar”. These are those who have learnt rahasya thrayam well and have full dedication to it. They are ready to do go to any extent for doing emperumAn’s kainkaryam. However, for their benefit, they are not prepared to do even the minutest effort. We should not spend any effort on our benefit, but we should be ready to do any kainkaryam for emperumAn. This pAsuram establishes the meaning for dhvaya mahAmanthram and also charama SlOkam. Again, in this pAsuram when AzhwAr mentions “kAmbaRath thalai siraiththu” he means that we should not strive for any other upAyam and should not have even the smallest of association with upAyAntharams.
In subsequent pAsurams, he talks about the glories of bhAgavathas (those who exhibit the previously mentioned qualities). He talks about how we should have an association with them and do kainkaryam to them.
Finally, in the 45th pAsuram “vaLavezhum thavaLa mAda madhurai mAnagaram thannuL..” AzhwAr concludes the prabandham by saying that emperumAn is such that He celebrates my lowly words as a great poetry, such is his vAthsalyam. AzhwAr says that he has celebrated such emperumAn through this work.
thirupaLLiezhuchchi:
thoNdaradippodi AzhwAr blessed us with thirupaLLiezhuchchi after thirumAlai. This is shown in the avathArikai (introduction) of thirupaLLiyezhuchchi vyAkhyAnam. This is a very beautiful prabandham in which AzhwAr is singing suprabhAtham to emperumAn SrIranganAthan. suprabhAtham means waking emperumAn. A big question will arise that when does emperumAn sleep? emperumAn is in the state of yOga nidhrA. In this state, emperumAn is thinking about the ways in which He can do good for us. At such a state, if we go at brAhma muhUrtham and pray to him for gracefully waking up emperumAn, we will be the subject of His divine grace. This has been a long cherished practice. In vAlmIki rAmAyaNam we see how rishi viSwAmithra wakes up SrIrAmar with “kausalyA suprajA rAma pUrva sandhyA pravarthathE..” SlOkam. Similarly, thoNdaradippodi AzhwAr gracefully wakes up SrIranganAthan.
thaniyan 1:
thamEva mathvA paravAsudhEvam
rangESayam rAjavadharhaNIyam |
prAbOdhikIm yOkrutha sUkthimAlAm
bhakthAngrirENum bhagavanthamIdE ||
periya perumAL, who has astonishing guNas, is lying down on AdhiSEsha and like a chakravarthi (emperor), is worshipped by everyone. Such periya perumAL, who is para vAsudhEvan in paramapadham, is gracefully woken up by thoNdaradippodi AzhwAr through his garland of songs (pA mAlai) known as thirupaLLiezhuchchi. I worship the great thoNdaradippodi AzhwAr.
thaniyan 2:
maNdangudi enbar mAmaRaiyOr manniya sIr *
thoNdaradippodi thonnagaram * vaNdu
thiNarththa vayal thennarangaththammAnai *
paLLi uNarththum pirAn udhiththa Ur
mandangudi is hailed by those who are experts in vEdhas, as the avathAra sthalam of thoNdaradippodi AzhwAr who did a great upakAram on us by waking up emperumAn who was in yOga nidhrA in SrIrangam.
Thus, the two thaniyans talk about the glory of thoNdaradippodi AzhwAr, his avathAra sthalam and periya perumAL.
In this prabandham, in many pAsurams, it is described how dhEvathAs, rishis, gandharvas, yakshas have all arrived and waiting eagerly to gracefully wake-up periya perumAL. dhEvathAs like brahmA, rudhran, skandhan, indhra, varuNa et al are competing to be the first to wake up emperumAn. They are waiting so that periya perumAL’s katAksham first falls on them when the sannidhi is opened.
In the first pAsuram, “kadhiravan guNa dhisai..” AzhwAr says that like an over swollen ocean, adiyArs have assembled. People accompanying them are playing big instruments. AzhwAr requests emperumAn to accede to their request and wake up and give them your dharSan (sEvai).
AzhwAr puts forth the same bhAvana beautifully in all the subsequent pAsurams.
In the last pAsuram, “kadimalark kamalangaL..” AzhwAr reveals his state of being the servitude of servitors (adiyArs) of emperumAn. He prays to periya perumAL to grant him the fortune of serving emperumAn’s adiyArs and concludes the prabandham.
amalanAdhipirAn:
Composed by thiruppANAzhwAr and part of mudhalAyiram.
We all know the famous charithram of thiruppANAzhwAr . He was born in the pANar kulam and had great attachment towards SrIranganAthan. He led his life considering periya perumAL to be everything. Once, sitting at the banks of kAvEri river and facing the direction of the sannidhi of periya perumAL, he was immersed in anubhavam of emperumAn by singing and playing the vINA. At that time lOkasAranga muni insulted AzhwAr. When lOkasAranga muni went to have the dharSan of periya perumAL, perumAL ordered him to bring thiruppANAzhwAr whom he refers to as “nam pANar”. Taking that as divine order, lOkasAranga muni went back to the banks of kAvEri and requested AzhwAr to accompany him to the sannidhi. However, AzhwAr said that he is not fit to set foot in the holy town of SrIrangam. lOkasAranga muni offered to carry AzhwAr on his shoulders so that he doesn’t have to set his feet down. By the repeated urging of lOkasAranga muni, thiruppANAzhwAr agreed to the request.
Seated on the shoulders of lOkasAranga muni, thiruppANAzhwAr while travelling towards the sannidhi blessed us with this work of amalanAdhipirAn. Just while nearing the sannidhi lOkasAranga muni sets AzhwAr on the ground. thiruppANAzhwAr sings the last pAsuram “koNdal vaNNanai..” and attains the thiruvadi of periya perumAL and proceeds to paramapadham from there itself.
thaniyan 1: (In sanskrit)
ApAdha chUdam anubhUya harim SayAnam
madhyE kavEra dhuhithur mudhithAntharAthmA |
adhrashtruthAm nayanayOr vishayAntharANAm
yO niSchikAya manavai munivAhanam tham ||
emperumAn is in Sayanath thirukkOlam (sleeping posture) between north and south streams of the divine kAvEri river. thiruppANAzhwAr with great happiness gets the anubhavam of such emperumAn from his thiruvadi to thirumudi. Such AzhwAr declared that the eyes which have seen such a beautiful sight will never look at anything else. The thaniyan offers prayers to such thiruppANAzhwAr who was carried on his shoulders by lOkasAranga muni.
thaniyan 2: (In thamizh)
kAttavE kaNda pAdha kamalam nallAdai undhi *
thEttarum udhara bandham thirumArbu kaNdam sevvAy *
vAttamil kaNgaL mEni muniyERith thani pugundhu *
pAttinAl kaNdu vAzhum pANar thAL paravinOmE
AzhwAr who entered the sannidhi of periya perumAL by travelling on the shoulders of lOkasAranga muni, hence being called munivAhanar, did anubhavam of avayavams (limbs) of emperumAn. He did anubhavam of lotus feet (thiruvadi), beautiful dress, his divine navel and stomach, the divine chest, the divine neck, coral colored lips, lotus eyes and the entire thirumEni (body) of emperumAn. His only goal was to sing the glories of emperumAn. The thaniyan offers prayers to such thiruppANAzhwAr .
thiruppANAzhwAr has beautifully experienced the entire divine body of periya perumAL. In the vyAkhyAnams, two types of relations/connections are established between each subsequent pAsuram.
In the first type of connection, the upakArams (favors) bestowed by emperumAn on AzhwAr are discussed.
In the second type of connection, it is discussed how AzhwAr enjoys each divine part of periya perumAL’s thirumEni (body). When someone is drowning in the ocean, if he holds on to a wooden log, the waves move him from one place to another. Similarly, the divine parts of emperumAn’s body make AzhwAr move from one anubhavam of one part to another.
The important SASthrArtham shown in this prabandham is that experiencing the divine
thirumEni of emperumAn should be a constant kainkaryam and udhdhESyam (goal) for us.
In each pAsuram, AzhwAr experiences one of the avayavam (parts) of periya perumAL’s divine body. He declares how perumAL’s lotus eyes have mesmerized AzhwAr. Then he experiences the beauty of the entire body of emperumAn.
In the final pAsuram, “koNdal vaNNanai..” AzhwAr concludes the prabandham by taking the oath that having seen the beautiful lotus eyes and divine body of periya perumAL, he will not look at any other thing including paramapadhanAthan and other archAvathArams of emperumAn.
Thus, we have seen a brief overview of all the prabandhams which are part of mudhalAyiram.
Source: https://youtu.be/nUInuo9g6Lk
adiyen kaNNan ramAnuja dAsan
adiyen vidhyA ramanuja dAsyai
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