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Full series >> Fifth Centum >> Third decad
Introduction for this pAsuram
Introduction for this pAsuram
Highlights from thirukkurukaippirAn piLLAn‘s introduction
No specific introduction.
Highlights from nanjIyar‘s introduction
In the end, AzhwAr says “In the abodes where there are those who are well versed in reciting this decad, emperumAn will himself descend and be eternally together [with such devotees]”.
Highlights from vAdhi kEsari azhagiya maNavALa jIyar‘s introduction
Subsequently, AzhwAr declares the result as “the abode where those who are well versed in reciting this decad, will become paramapadham (spiritual realm)”.
Highlights from periyavAchchAn piLLai‘s introduction
See nanjIyar‘s introduction.
Highlights from nampiLLai‘s introduction as documented by vadakkuth thiruvIdhip piLLai
See nanjIyar‘s introduction.
pAsuram
iraikkum karungadal vaNNan kaNNa pirAn thannai
viraik koL pozhil kurugUrch chatakOpan sonna
niraik koL andhAdhi Or AyiraththuL ippaththum
uraikka vallArkku vaigundham Agum tham UrellAm
Word-by-Word meanings (based on vAdhi kEsari azhagiya maNavALa jIyar‘s 12000 padi)
iraikkum – noisy due to rising tides
karum kadal – abundant like blackish sea
vaNNan – one who is having beautiful form
pirAn – one who is of the nature of letting his devotees enjoy such beauty
kaNNan thannai – krishNa
viraik koL – greatly fragrant
pozhil – having garden
kurugUravar – leader of those who dwell in [AzhwAr]thirunagari
satakOpan – AzhwAr
sonna – mercifully spoke
nirai – Poetic aspects such ezhuththu, asai, sIr, thaLai, adi, thodai, pA, isai, thALam and other decorative aspects
koL – having
andhAdhi – being in andhAdhi [antham + Adhi, a type of poem where the last word of one pAsuram is used as the first word in the next pAsuram]
Or – distinguished
AyiraththuL – among the thousand pAsurams
ippaththum – this decad
uraikka vallArkku – for those who can recite just the pAsurams (without understanding anything more)
tham – where they are located
Ur ellAm – the towns/abodes
vaigundham – to be said as paramapadham
Agum – have bliss.
Simple translation (based on vAdhi kEsari azhagiya maNavALa jIyar‘s 12000 padi)
AzhwAr, the leader of those who dwell in [AzhwAr]thirunagari which is having greatly fragrant garden, mercifully spoke about krishNa who is having beautiful form, abundant like blackish sea which is noisy due to rising tides, in this distinguished decad which is having poetic aspects such as ezhuththu, asai, sIr, thaLai, adi, thodai, pA, isai, thALam and other decorative aspects and is in andhAdhi meter, among the thousand pAsurams; for those who can recite just the pAsurams (without understanding anything more) of this decad, the towns/abodes where they are located are to be said to have the bliss of paramapadham.
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
- iraikkum karum kadal vaNNan – nanjIyar came [from thirunArAyaNapuram] and mercifully mentioned to bhattar saying that he heard this from ananthAzhwAn – As the ocean heard SrI rAma’s [angry] words in SrI rAmAyaNam yudhdha kANdam 21.22 “chApamAnaya” (Oh lakshmaNa! bring my arrows), it became greatly agitated; in the same way emperumAn‘s supremacy got agitated on hearing her firm decision to engage in madal. vaNNan implies one who has such nature.
- kadal vaNNan – His great beauty which is to pursued even by engaging in madal, is explained here. One who is having an invigorating form like that of an ocean with rising tides.
- kaNNa pirAn thannai – krishNa, who gave that form as a favour to me. Thus his beautiful form and his nature are explained.
- viraik koL pozhil – As she set out to engage in madal, the town became filled with fragrance of freshly blossomed flowers, expecting his arrival.
- niraik koL andhAdhi – Though he engages in madal without any specific plan, the various poetic aspects fell in place in the prabandham naturally. As said in SrI rAmAyaNam bAla kANdam 2.40 “SOkaSSlOkathvamAgatha:” (as the SlOkam followed the SOkam (sorrow)), though SrI rAmAyaNam was started out of sorrow, by brahmA’s grace, all aspects fell in place for it; similarly, though AzhwAr was grieved and could not even start the prabandham, the prabandham started flowing by bhagavAn‘s grace and thus there is nothing wrong in saying that every poetic aspect fell in place naturally.
- uraikka vallArkku – One need not engage in madal, it is sufficient to recite this pAsuram.
- vaigundham Agum tham UrellAm – Their target abode is paramapadham. Alternative explanation – not to have them set out to engage in madal to be known by everyone, he himself descends to wherever they are and remains together with them eternally; hence, their abodes can be called as paramapadham. There is nothing wrong in saying that wherever his presence is, that abode is SrIvaikuNtam. One cannot doubt “Is it possible to attain this just for [reciting] this pAsuram?”; if we consider the qualities of bhagavAn explained in this decad, one can understand that he is of the nature where even this singing is extraneous [to get his mercy]; and if he will not show his mercy for reciting this pAsuram, it can be said that there is no use of paripUrNa AsrayaNa [complete surrender – paramabhakthi stage] too; if this is not the case, even purushOththama can be considered as any other mortal being.
AzhwAr thiruvadigaLE SaraNam
emperumAnAr thiruvadigaLE SaraNam
piLLAn thiruvadigaLE SaraNam
nanjIyar thiruvadigaLE SaraNam
nampiLLai thiruvadigaLE SaraNam
vadakkuth thiruvIdhip piLLai thiruvadigaLE SaraNam
periyavAchchAn piLLai thiruvadigaLE SaraNam
vAdhi kEsari azhagiya maNavALa jIyar thiruvadigaLE SaraNam
jIyar thiruvadigaLE SaraNam
In the next article we will enjoy the next decad.
adiyen sarathy ramanuja dasan
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