rAmAnusa nURRanthAdhi

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.

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

thiruvarangaththu amudhanArthiruvarangaththu amudhanAr


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.

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Translation by raghuram SrInivAsa dAsan

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