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periyAzhwAr thirumozhi >> Third Centum >> Seventh decad
avathArikai
thiruvAimozhip piLLai says, in his svApadhESam, that the mother sees explicitly that her daughter has united with emperumAn.
pongu veN maNal koNdu siRRilum muRRaththil izhaikkal uRil
sangu chakkaram thaNdu vAL villum alladhu izhakkal uRAL
kongai innam kuvindhu ezhundhila gOvindhanOdu ivaLaich
changaiyAgi en uLLam nAL thoRum thattuLuppu AginrRadhE
Word-by-Word Meanings
muRRaththu – in the courtyard
pongu – being fine
veN – being white
maNal koNdu – with sand
siRu il – small house
izhaikkal uRil – if she attempts to draw
sangu – SrI pAnchajanyam [divine conch]
chakkaram – thiruvAzhi AzhwAn [divine disc]
thaNdu – gadhai [divine mace]
vAL – nAndhakam [divine sword]
villum alladhu – and SrI SArngam [divine bow], anything apart from these
izhakkal uRAL – she will not think of drawing
kongai – bosom
innam – until now
kuvindhu – to swell
ezhundhila – have not risen
gOvindhanOdu – with kaNNan, who grazes cows
ivaLai sangai Agi – suspecting “union must have occurred for her”
nAL thORum – everyday
en uLLam – my mind
thattuLuppAginRadhu – is wavering
Simple Translation
When she attempts to draw small houses in the courtyard, with fine, white sand, apart from the divine weapons of emperumAn, divine conch, divine disc, divine mace, divine sword and divine bow, she is unable to draw anything else. Her bosoms have not yet swollen and risen up. My mind thinks every day that “Union must have taken place for her” with kaNNa, who grazes cows, and it wavers.
vyAkhyAnam (Commentary)
pongu … – When I tell her firmly “Do not go outside and play in a disharmonious way; stay inside the house and play in the courtyard”, if she attempts to draw small house with alluvial sand, which is fine and white in colour …
thiruvAimozhip piLLai says here that the earlier mentioned “kai vaiththu ivaL varum” [seen in the first pAsuram of this decad] and “mAl uRuginRALE” [seen in the second pAsuram] do appear to be true when she engages with drawing with sand. Just as it has been said in “vandal nuN maNal” (fine, alluvial sand) and “ekkalidu nuNmaNal” (fine, river sand), with sand which had whiteness and purity, when she attempts to draw, in the courtyard …
uRil – usage of the word [if she attempts to] indicates that it is clear that she is doing this only due to my compulsion.
thiruvAimozhip piLLai says here that if she attempts to engage, in order to dispel my doubt … even dispelling the doubt is due to her thoughts.
sangu … – she will not draw anything other than those which are his distinguished symbols of identification, such as the divine five weapons, which are the reason for beauty and for annihilation of enemies.
thiruvAimozhip piLLai says here that the divine conch was blown to indicate emperumAn’s arrival to rukmiNip pirAtti, divine disc showers its mercy on his followers, divine mace is merciful, divine sword is splendorous and the divine bow reverberates. These are his distinguished symbols of identification and she [the daughter] thinks that these helped people like herself. She thinks of her earlier status and recalls with gratitude, the help rendered [by her friends]. Usage of the term uRil indicates that she becomes immobile and mumbles incoherent words when questioned.
kongai innam kuvindhu ezhundhila – just as it has been mentioned in thiruviruththam 60 “mulaiyO muzhumuRRum pOndhila” (the bosoms have not sprouted even a little bit), her bosoms have not swollen and risen, to distinguish between a man’s chest and a woman’s bosoms. Even though she is a young girl, for her mother, only her child-like form appears.
gOvindhanOdu ivaLaich changaiyAgi – suspecting that union had taken place between her and the one who is simplistic enough to grow up amidst cattle.
thiruvAimozhip piLLai says here that krishNa is completely simple to approach and is a protector. However, she does not consider herself as being protected or as being one who should approach him easily. My mind suspects that she has united with him.
ennuLLam nAL thORum thattuLuppu AginRadhE – every day, my mind keeps wavering. When I look at her childishness, I cannot say “Yes, she has united”. When I look at her activities, I cannot say “No, she hasn’t”. Thus, unable to determine between these two, my heart is wavering. thattuLuppu – wavering.
thiruvAimozhip piLLai says here that the mother feels that her mind is wavering every day. thattuLuppu – wavering. Alternatively, her mind dissolves, just like salt dissolves in a vessel of water. Again, her mind becomes debilitated, just a like a tree, which has got rotten.
He says at the end, the following: the girl thinks of utilising the sensory organs, which shine while going after worldly pursuits [this is the equivalent of pongu veN maNal koNdu]; to engage with emperumAn in dhivyadhESams [this is the equivalent of siRRilum muRRaththu izhaikkal uRil], and goes after those who are firmly engaged with being totally dependent only on emperumAn and do not go after other means, and those who are firmly engaged with carrying out servitude to emperumAn only for his happiness [this is the equivalent of sangu chakkarm thaNdu vAL villum alladhu izhaikkaluRil] with all her three faculties of mind, speech and bodily activity; she forgets that she is fully dependent on emperumAn and has to carry out servitude to him in order to make him happy; if she also forgets me [the mother, who is in the status of an AchAryan], who had taught her this meaning and forgets the gratitude that she should have due to getting this instruction, it is natural for the AchAryan to feel sorrowful, thinking “Will not the doubt of having united with emperumAn disappear?” Where is the age for engaging in all these? [this is the equivalent of kongai innam kuvindhu ezhundhila]. The devotion towards various other entities should gel together and the resultant devotion should be focussed on only one entity [emperumAn]. More than the jIvAthmA and the paramAthmA [supreme entity], it is the AchAryan who is looking forward to the maturing of the jIvAthmA’s knowledge so that he could direct the jIvAthmA towards the supreme entity [this is the equivalent of innam].
The pAsuram has to be transformed as kongai innam kuvindhu ezhundhila, pongu veNmaNal koNdu siRRilum muRRaththu izhaikkal uRil, sangu chakkaram thaNdu vAL villum alladhu izhaikkaluRAL, gOvindhanOdu ivaLaich changaiyAgi to get the sequential meanings.
We shall next consider the 4th pAsuram of this thirumozhi.
adiyEn krishNa rAmAnuja dhAsan
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