thiruvAimozhi – 10.9.4 – edhir edhir

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

Full series >> Tenth Centum >> Ninth decad

Previous pAsuram

Introduction for this pAsuram

Highlights from thirukkurukaippirAn piLLAn‘s introduction

No specific introduction.

Highlights from nanjIyar‘s introduction

In the fourth pAsuram, AzhwAr explains how the dhEvathAs of higher worlds arrange gardens everywhere for the SrIvaishNavas to rest and how they make joyful sounds with the help of musical instruments etc in praise of SrIvaishNavas.

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

See nanjIyar‘s introduction.


edhir edhir imaiyavar iruppidam vaguththanar
kadhiravar avar avar kainnirai kAttinar
adhir kural murasangaL alai kadal muzhakkoththa
madhu viri thuzhAy mudi mAdhavan thamarkkE


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

madhu viri – dripping honey
thuzhAy mudi – having thiruththuzhAy (thuLasi) on the divine crown
mAdhavan thamarkku – for the servitors of Sriya:pathi (lord of SrI mahAlakshmi)
imaiyavar – (dhEvathAs) those who don’t blink their eyes
edhir edhir – in the path of SrIvaishNavas going to paramapadham
iruppidam – palaces which are resting places
vaguththanar – made;
kadhiravar – the twelve Adhithyas
avaravar – in their respective ability

(as said in “raSmibhi: Urdhvam AgramathE“)
kai nirai kAttinar – gave their rays which are their hands as the decorative rows;
murasangaL – the drums which they beat
adhir kural – the tumultuous sound
alai kadal – in ocean with tides
muzhakkoththana – matched loud noise.

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

dhEvathAs who don’t blink their eyes made palaces which are resting places for the servitors of Sriya:pathi, who is having thuLasi, which is dripping honey, on the divine crown; the twelve Adhithyas in their respective ability, gave their rays which are their hands as the decorative rows; the tumultuous sound of the drums which they beat, matched the loud noise of the ocean with tides.

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

  • edhir edhir … – Everywhere, with the expectation “Will they stay here? Will they stay here?” , dhEvathAs constructed rest houses. They are not referred to as imaiyavar (those who don’t blink) for their nature, but for their awakened state due to the urge in constructing the rest houses; just as iLaiya perumAL (lakshmaNa) remained awake [in forest] to serve perumAL (SrI rAma). They are constructing the rest houses fully knowing that these SrIvaishNavas  will not rest there, but are constructing to engage in kinchithkAram (a little service) for sustaining their own true nature; just as those who will construct welcome arches during festive season for the kings to notice the same and utter a word of praise “well done”.
  • kadhir … – Adhithyas showed their hands [rays] as decorative rows of lights saying “Please come in this way, please come in this way, please see, please see”.This kadhiravar can also mean the groups of AdhivAhikas who lead in the archirAdhi mArgam. kadhiravar – luminuous persons.
  • adhir … – Thinking that they may rest in the palaces constructed by the dhEvathAs, the residents of the [even] higher worlds, to stop the SrIvaishNavas from hearing the welcoming words of the dhEvathAs, played the drums which give out tumultuous sound, resembling the sound of the ocean with tides; alternatively – they played loud music with the musical instruments with the expectation of making the SrIvaishNavas stay there.
  • madhu viri … – As the musical instruments are played and the residents of various worlds along the path utter welcoming words, and as the SrIvaishNavas are travelling in the path, emperumAn along with pirAtti, decorates himself again and again, to present himself along with pirAtti to them.
  • mAdhavan thamarkkE – emperumAn is decorating himself thinking “Those who surrendered unto me with the purushakAram (recommendation) of pirAtti, are coming to serve me in the presence of pirAtti”. Implies that these SrIvaishNavas became fully devoted being captivated by the beautiful decoration of Sriya:pathi.
  • edhir edhir … – How amazing that these SrIvaishNavas were disrespected and not given rewards just because they were vaishNavas in this world, are now being welcomed by the dhEvathAs and are offered wonderful abodes! miLagAzhwAn once went to the capital city of a kingdom hearing that the king is giving rewards to scholars. The king saw him and said “You are AntharALigan (one who is in between samsAri who is bound in this world and mukthAthmA who is liberated; i.e., he is being identified as mumukshu, liberation seeker); you will not be given any rewards”. miLagAzhwAn asked “Are you saying this due to any doubt in my knowledge, scholarship etc?” The king replied “There is no shortcoming in your qualities, but this is the only reason”. Hearing that miLagAzhwAn said “Though I don’t have the qualities of a proper vaishNava, I am glad that they abandoned me citing me to be a vaishNava” and threw his upper cloth on the sky in jubiliation and started dancing.

In the next article we will enjoy the next pAsuram.

adiyen sarathy ramanuja dasan

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