thiruvAimozhi – 5.1.6 – puRamaRa

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

Full series >> Fifth Centum >> First decad

Previous pAsuram

Introduction for this pAsuram

Highlights from thirukkurukaippirAn piLLAn‘s introduction

No specific introduction.

Highlights from nanjIyar‘s introduction

In the sixth pAsuram, AzhwAr becomes pleased after emperumAn manifesting his divine beauty to make AzhwAr forget the anguish acquired by meditating upon the material realm.

Highlights from vAdhi kEsari azhagiya maNavALa jIyar‘s introduction

See nanjIyar‘s introduction.

Highlights from periyavAchchAn piLLai‘s introduction

See nanjIyar‘s introduction.

Highlights from nampiLLai‘s introduction as documented by vadakkuth thiruvIdhip piLLai

Sixth pAsuram.  On seeing AzhwAr saying “pOra vaiththAy puRamE” and becoming anguished, emperumAn decided “we should make him forget of about his loss and redeem him” and manifests his physical beauty; on seeing that divine beauty, AzhwAr becomes pleased forgetting his own body and says “I have seen him”. emperumAn’s form mesmerized AzhwAr and made AzhwAr forget his own body.


puRam aRak kattik koNdu iru val vinaiyAr kumaikkum
muRai muRai Akkai pugal ozhiyak kaNdu koNdozhindhEn
niRamudai nAl thadam thOL seyya vAy seyya thAmaraik kaN
aRamuyalAzhiyangaik karu mEni ammAn thannaiyE


Word-by-Word meanings (based on vAdhi kEsari azhagiya maNavALa jIyar‘s 12000 padi)

puRam – anything external
aRa – to forget
kattik koNdu – binding
iru – two types (in the form of puNya (virtues) and pApa (vices))
val – very strong
vinaiyAr – karmas
kumaikkum – the abode which is affected
muRai muRai – dhEva (celestial) etc [human, animal, plant]
Akkai – in bodies
pugal – entering in many ways
ozhiya – to eliminate
niRam – attractive form
udai – having
nAl – four types
thadam – rounded
thOL – shoulders
seyya – reddish
vAy – divine lips
seyya – reddish
thAmarai – lotus like
kaN – eyes
aRam – in the virtual act of protection
muyal – engaged in
Azhi – due to having divine chakra
am – having great beauty
kai – having divine hand
karu – blackish
mEni – having form
ammAn – the lord
kaNdu koNdu ozhindhEn – I have seen him in front of me and enjoyed to eliminate all my losses.

Simple translation (based on vAdhi kEsari azhagiya maNavALa jIyar‘s 12000 padi)

One enters in many ways into bodies such as dhEva (celestial) etc which are the abodes which are affected by very strong two types of karmas which bind one to forget about anything else; I have seen in front of me, the lord who is having attractive form having four types of rounded shoulders, reddish divine lips, reddish lotus like eyes, having greatly beautiful divine hand which is having divine chakra which is engaged in the virtual act of protecting [everyone] and blackish form, and eliminated all such losses [of going through different bodies and sufferings],

vyAkyAnams (commentaries)

Highlights from thirukkurukaippirAn piLLAn‘s vyAkyAnam

See vAdhi kEsari azhagiya maNavALa jIyar‘s translation.

Highlights from nanjIyar‘s vyAkyAnam

See nampiLLai‘s vyAkyAnam.

Highlights from periyavAchchAn piLLai‘s vyAkyAnam

See nampiLLai‘s vyAkyAnam.

Highlights from nampiLLai‘s vyAkyAnam as documented by vadakkuth thiruvIdhip piLLai

  • puRam aRak kattik koNdu – Having it tied in such a very complex manner that the AthmA cannot untie the binding. emperumAn himself said that the knot which is tied by him who is sarvaSakthi (omnipotent) cannot be untied by any one else in SrI bhagavath gIthA 7.14mama mAyA dhurathyayA” (my material realm is very difficult to cross over).
  • iru val vinaiyAr – will effect both types of great sins [puNya and pApa, both are considered as sins, since both of them bind us in this material realm]. vinaiyAr indicates respectful way of  saying vinai (karma) due to being tortured by it, or it can indicate the plural of vinai.
  • kumaikkum muRai muRai Akkai – By doing [more] puNya (virtue), one will acquire dhEva (celestial) form, by doing [more] pApa (vice), one will acquire animal and plant bodies, and when there is equal measure of puNya and pApa, one will acquire human form – in this manner there is no end to the sufferings here. Like a dog which will enter and exit any open door, the AthmA will enter different forms such as dhEva (celestial), manushya (human), thiryak (animal) and sthAvara (plant) forms,  based on its karma and keep moving on.
  • pugal ozhiya – to eliminate acquiring such births. AthmA which is known by its gyAnam (knowledge) and Anandham (bliss) is the one which is going through different bodies and suffering, to go through six types of changes (birth, growth, … death) . To eliminate such sufferings.
  • kaNdu koNdu ozhindhEn – I have seen and enjoyed the apt lord; and hence eliminated the need to enter any more bodies.
  • niRamudai … – As said in SrI rAmAyaNam kishkinthA kANdam 3.14 “sarva bhUsaNa bhUshArhA:” (the shoulders which deserve to be decorated by all ornaments), having divine shoulders which are being an ornament for the ornament, in count of four and being rounded; as said in SrIvishNu purANam 5.17.21 “savilAsasmithAdhAram bibrANam mukhapankhajam” (one who is having the divine face to support the broad smile) – having the smile which maintains the freshness of the divine face, the divine eyes which are glancing in a cool manner to make one forget their losses; having the divine hand which carries the divine chakra which is more focussed in the parama dharma (supreme virtue) of protecting the devotees, and the divine cool beauty which will capture anyone even if (s)he is not captivated by that [divine hand/chakra combination], and the aptness to enjoy saying “all of these are for me” – I have seen such emperumAn. [Has AzhwAr seen that form? Yes.] This is the form that is seen in one’s own heart as explained in thaiththirIya upanishath “neelathOyadha madhyasthA” (like a lightning amidst a dark cloud). Just as previously this [material] body made me forget the divine form [of emperumAn], now, that divine form made me forget this body.

In the next article we will enjoy the next pAsuram.

adiyen sarathy ramanuja dasan

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