<< avathArikai (pravESam)<\/a><\/p>\n The proper sequence of enjoying emperumAn<\/a> is to enjoy his svarUpam (true nature), rUpam (form) and guNam (qualities); however AzhwAr <\/a>leaves aside the svarUpam and instructs us to enjoy His rUpam directly;and the reason for this is \u2013 his attachment towards the same. When AzhwAr started experiencing emperumAn\u2019s rUpam, that itself blocks him from enjoying it directly like an ocean pushing its waves on those who want to enjoy it; so, just as someone desiring to step in to a flood will use a boat to do so, AzhwAr too sets to enjoy emperumAn through an example. Since bhagavAn <\/a>is distinctly unique, there is no exact match for bhagavath vishayam; but at least one should compare an object which has some minor similarity; [hence] AzhwAr is highlighting an emerald mountain as example. Since the emerald mountain lacks the exact qualities of emperumAn, AzhwAr starts with decorating it [to make it look more comparable to emperumAn]. Just as he left aside svarUpam and started engaging in the rUpam, here, he leaves aside the rUpam and starts engaging in the object which is cited as example and decorating it.<\/p>\n Let us go through the pAsuram and its meanings:<\/p>\n sekkarmA mugiluduththu mikka senjudarp![\"\"](\"https:\/\/divyaprabandham.koyil.org\/wp-content\/uploads\/2017\/07\/Thiruthangal_appan.jpg\")
<\/a><\/p>\navathArikai (Introduction)
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\nparidhisUdi * anjudar madhiyam pUNdu *
\npala sudar punaindha pavaLach chevvAy*
\nthigazh pasunjOdhi maragadhak kunRam *
\nkadalOn kaimisaik kaN vaLarvadhupOl *
\npIthagavAdai mudi pUN mudhalA *
\nmEthagu palkalan aNindhu * sOdhi
\nvAyavum kaNNavum sivappa * mIdhittup
\npachchai mEni migap pagaippa *
\nnachchu vinaik kavarthalai aravinamaLi ERi *
\neRikadal naduvuL aRithuyil amarndhu *
\nsivan ayan indhiran ivar mudhal anaiththOr *
\ndheyvak kuzhAngaL kaithozhak kidandha *
\nthAmarai undhi thanip peru nAyaga! *
\nmUvulagaLandha sEvadiyOyE! <\/em><\/p>\nListen<\/a><\/h3>\n