SrI: SrImathE SatakOpAya nama: SrImathE rAmAnujAya nama: SrImath varavaramunayE nama:
Full series >> Sixth Centum >> First decad
Introduction for this pAsuram
Highlights from thirukkurukaippirAn piLLAn‘s introduction
No specific introduction.
Highlights from nanjIyar‘s introduction
In the end, AzhwAr says “Just as lovers are enjoyed by damsels, those who are well versed in this decad will be enjoyed by SrIvaishNavas”.
Highlights from vAdhi kEsari azhagiya maNavALa jIyar‘s introduction
See nanjIyar‘s introduction.
Highlights from periyavAchchAn piLLai‘s introduction
See nampiLLai‘s introduction.
Highlights from nampiLLai‘s introduction as documented by vadakkuth thiruvIdhip piLLai
In the end, AzhwAr says “Just as lovers are enjoyed by damsels, those who are well versed in this decad will be enjoyed by sarvESvaran”.
pAsuram
min koL sEr puri nUl kuRaLAy agal gyAlam koNda
van kaLvan adi mEl kurugUrch chatakOpan sonna
paN koL AyiraththuL ivai paththum thiruvaNvaNdUrkku
in koL pAdal vallAr madhanar minnidaiyavarkkE
Listen
Word-by-Word meanings (based on vAdhi kEsari azhagiya maNavALa jIyar‘s 12000 padi)
min – splendour
koL – having
sEr – matching his divine form and glory
puri nUl – having divine yagyOpavIdham (sacred thread)
kuRaLAy – as vAmana (dwarf)
agal – expansive
gyAlam – earth
koNda – having exclusively for himself
van – very strong, to be agreed upon by the one who gives and the people of the world
kaLvan – having mischief
adi mEl – on the divine feet
kurugUrch chatakOpan – nammAzhwAr
sonna – mercifully spoke
paN – tune
koL – consuming the words in it
AyiraththuL – among the thousand pAsurams
thiruvaNvaNdUrkku – for thiruvaNvaNdUr
in – sweetness
koL – having
pAdal – song
ivai paththum – this decad
vallAr – who can practice
min – shining/thin like lightning
idaiyavarkku – those who have waist portion
madhanar – desirable.
Simple translation (based on vAdhi kEsari azhagiya maNavALa jIyar‘s 12000 padi)
emperumAn as vAmana is wearing splendorous, divine yagyOpavIdham which is matching his divine form and glory, possessing the expansive earth exclusively for himself, being mischievous, to be agreed upon by the one who gives and the people of the world. nammAzhwAr mercifully spoke on the divine feet of such emperumAn these thousand pAsurams where the tune consumes the words. Among those thousand pAsurams, this sweet decad is for thiruvaNvaNdUr. Those who can practice this decad, will be desired by those who have waist portion which is shining/thin like lightning. With this – it is implied that those who are well versed in this decad will bring joy to the bhAgavathas who are radiant due to not surrendering to anyone else as explained in the middle portion of thirumanthram.
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
- min koL sEr puri nUl kuRaLAy – As SrI vAmana who is wearing the divine sacred thread which is having a contrast colour with his dark complexion which outshines lightning [in its shine]. The reason for speaking about vAmana form is to highlight his humble entry in the vicinity of AzhwAr to offer himself to AzhwAr. It is like the precursor for emperumAn‘s arrival which is said as in iraNdAm thiruvandhAdhi 81″pagal kaNdEn” (I saw the dawn) [his approaching of parAnguSa nAyaki in the next decad to pacify her]. Not having the ability to send a messenger, he himself arrives in a dwarf form feeling fully ashamed of being separated from AzhwAr.
- agal gyAlam koNda van kaLvan adi mEl – On the divine feet of the greatly mischievous emperumAn who grabbed everything from mahAbali. It is like the sunrise for “minnidai madavAr” (next decad where he comes looking to be accepted by AzhwAr); that is, just as emperumAn removed the pride of mahAbali and took everything from him, he united with parAnguSa nAyaki eliminating her pride which she acquired out of romantic quarrel. But, the pride of the enemy is not the same as the pride of a lover. That can be destroyed, but this cannot be destroyed [since these are intimate interactions]. When some one manifests anger without any reason [as in the case of romantic quarrel], it only increases when the person [who is the target of the anger] appears in front. Her anger/pride will not decrease even in his presence.
- paN koL Ayiram – As Izham (an island such as lankA) was filled with bamboo shoots, the tune is abundant [subduing the words].
- in koL pAdal vallAr – Those who are well versed in these sweet pAsurams. There is no need for palaSruthi (result of singing the pAsurams); singing this in itself is the enjoyable result.
- madhanar minnidaiyavarkkE – Just like lovers are desired by damsels, those who practice this decad are desired by SrIvaishNavas; if this is not the case [i.e., if it is taken literally],why would AzhwAr who said in thiruvAimozhi 6.9.9 “pala nI kAttip paduppAyO” (Are you trying to finish me showing various worldly pleasures?) and in thiruvAimozhi 6.9.8 “puRaththittu innam keduppAyO” (are you planning to engage me in worldly pleasures and spoil me further), will now say that they will be enjoyed by women; he is saying that just as damsels enjoy their lovers, they [those who sing these pAsurams] will be enjoyed by emperumAn and SrIvaishNavas; even previously, AzhwAr just said “thAmarai” (the example) and left out emperumAn’s divine feet [this is explained in thamizh grammar as “muRRuvamai“, where the example is directly highlighted without the object of the example as in thiruvAimozhi 6.9.9 “thAvi vaiyam koNda thadam thAmaraigatku” (the lotus flower which measured the world)]; when an example is exactly matching the object of the example, the example itself can be cited [without the object of the example]; same principle can be explained using the words “adhu pOla” (like that) and “adhu thAn” (only that).
In the next article we will enjoy the next pAsuram.
adiyen sarathy ramanuja dasan
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